From: Petter Reinholdtsen Date: Mon, 9 Jul 2012 07:16:26 +0000 (+0200) Subject: First draft translation with machine translation using http://freetranslation.mobi/. X-Git-Tag: edition-2015-10-10~2586 X-Git-Url: https://pere.pagekite.me/gitweb/text-free-culture-lessig.git/commitdiff_plain/c6cc76cf782d1eee573d5055222430898a8d5051 First draft translation with machine translation using http://freetranslation.mobi/. --- diff --git a/freeculture.nb.2012-07-07.pdf b/freeculture.nb.2012-07-07.pdf new file mode 100644 index 0000000..6696e7d Binary files /dev/null and b/freeculture.nb.2012-07-07.pdf differ diff --git a/freeculture.nb.po b/freeculture.nb.po new file mode 100644 index 0000000..929216d --- /dev/null +++ b/freeculture.nb.po @@ -0,0 +1,26983 @@ +# Copyright (C) 2012 Free Software Foundation, Inc. +# This file is distributed under the same license as the PACKAGE package. +# +# Petter Reinholdtsen , 2012. +msgid "" +msgstr "" +"Project-Id-Version: \n" +"POT-Creation-Date: 2012-07-09 09:10+0300\n" +"PO-Revision-Date: 2012-07-07 09:02+0200\n" +"Last-Translator: Petter Reinholdtsen \n" +"Language-Team: Norwegian BokmÃ¥l \n" +"Language: \n" +"MIME-Version: 1.0\n" +"Content-Type: text/plain; charset=UTF-8\n" +"Content-Transfer-Encoding: 8bit\n" +"X-Generator: Lokalize 1.0\n" +"Plural-Forms: nplurals=2; plural=n != 1;\n" + +#. type: Attribute 'lang' of: +msgid "en" +msgstr "no" + +#. type: Content of: +msgid "Free Culture" +msgstr "Fri kultur" + +#. type: Content of: <book><bookinfo> +msgid "<abbrev>\"freeculture\"</abbrev>" +msgstr "<abbrev>\"frikultur\"</abbrev>" + +#. type: Content of: <book><bookinfo><subtitle> +msgid "Version 2004-02-10" +msgstr "Versjon 2004-02-10" + +#. type: Content of: <book><bookinfo><authorgroup><author><firstname> +msgid "Lawrence" +msgstr "Lawrence" + +#. type: Content of: <book><bookinfo><authorgroup><author><surname> +msgid "Lessig" +msgstr "Lessig" + +#. type: Content of: <book><bookinfo> +msgid "" +"<copyright> <year>2004</year> <holder> Lawrence Lessig. This version of " +"Free Culture is licensed under a Creative Commons license. This license " +"permits non-commercial use of this work, so long as attribution is given. " +"For more information about the license, click the icon above, or visit " +"<ulink url=\"http://creativecommons.org/licenses/by-nc/1.0/\">http://" +"creativecommons.org/licenses/by-nc/1.0/</ulink> </holder> </copyright>" +msgstr "" + +#. type: Content of: <book><bookinfo><abstract><title> +msgid "ABOUT THE AUTHOR" +msgstr "Om forfatteren" + +#. type: Content of: <book><bookinfo><abstract><para> +msgid "" +"LAWRENCE LESSIG (<ulink url=\"http://www.lessig.org/\">http://www.lessig." +"org</ulink>), professor of law and a John A. Wilson Distinguished Faculty " +"Scholar at Stanford Law School, is founder of the Stanford Center for " +"Internet and Society and is chairman of the Creative Commons (<ulink url=" +"\"http://creativecommons.org/\">http://creativecommons.org</ulink>). The " +"author of The Future of Ideas (Random House, 2001) and Code: And Other Laws " +"of Cyberspace (Basic Books, 1999), Lessig is a member of the boards of the " +"Public Library of Science, the Electronic Frontier Foundation, and Public " +"Knowledge. He was the winner of the Free Software Foundation's Award for the " +"Advancement of Free Software, twice listed in BusinessWeek's \"e.biz 25,\" " +"and named one of Scientific American's \"50 visionaries.\" A graduate of the " +"University of Pennsylvania, Cambridge University, and Yale Law School, " +"Lessig clerked for Judge Richard Posner of the U.S. Seventh Circuit Court of " +"Appeals." +msgstr "" + +#. type: Content of: <book><chapter><title> +msgid "Info" +msgstr "Info" + +#. type: Content of: <book><chapter><para> +msgid "You can buy a copy of this book by clicking on one of the links below:" +msgstr "" +"Du kan kjøpe en kopi av denne boken ved Ã¥ klikke pÃ¥ en av koblingene " +"nedenfor:" + +#. type: Content of: <book><chapter><itemizedlist><listitem><para> +msgid "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>" +msgstr "" + +#. type: Content of: <book><chapter><itemizedlist><listitem><para> +msgid "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" +msgstr "" + +#. type: Content of: <book><chapter><itemizedlist><listitem><para> +msgid "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"ALSO BY LAWRENCE LESSIG The Future of Ideas: The Fate of the Commons in a " +"Connected World Code: And Other Laws of Cyberspace" +msgstr "" +"ogsÃ¥ av lawrence lessig fremtidens ideer: skjebnen av commons i en tilkoblet " +"verden-kode: og andre lover av cyberspace" + +#. type: Content of: <book><chapter><para> +msgid "THE PENGUIN PRESS NEW YORK" +msgstr "penguin trykk new york" + +#. type: Content of: <book><chapter><para> +msgid "" +"FREE CULTURE HOW BIG MEDIA USES TECHNOLOGY AND THE HOW BIG MEDIA USES " +"TECHNOLOGY AND LAW TO LOCK DOWN CULTURE AND CONTROL THE LAW TO LOCK DOWN " +"CULTURE CREATIVITY AND CONTROL CREATIVITY LAWRENCE LESSIG" +msgstr "" +"fri kultur hvor store media bruker teknologi og hvor stor media bruker " +"teknologi og lov til Ã¥ lÃ¥se kultur og kontrollere lov Ã¥ lÃ¥se ned kultur " +"kreativitet og kontroll kreativitet lawrence lessig" + +#. type: Content of: <book><chapter><para> +msgid "" +"THE PENGUIN PRESS a member of Penguin Group (USA) Inc. 375 Hudson Street " +"New York, New York Copyright © Lawrence Lessig, All rights reserved Excerpt " +"from an editorial titled \"The Coming of Copyright Perpetuity,\" The New " +"York Times, January 16, 2003. Copyright © 2003 by The New York Times Co. " +"Reprinted with permission. Cartoon by Paul Conrad on page 159. Copyright " +"Tribune Media Services, Inc. All rights reserved. Reprinted with " +"permission. Diagram on page 164 courtesy of the office of FCC Commissioner, " +"Michael J. Copps. Library of Congress Cataloging-in-Publication Data " +"Lessig, Lawrence. Free culture : how big media uses technology and the law " +"to lock down culture and control creativity / Lawrence Lessig. p. cm. " +"Includes index. ISBN 1-59420-006-8 (hardcover) 1. Intellectual property--" +"United States. 2. Mass media--United States. 3. Technological innovations--" +"United States. 4. Art--United States. I. Title. KF2979.L47 343.7309'9--dc22 " +"This book is printed on acid-free paper. Printed in the United States of " +"America 1 3 5 7 9 10 8 6 4 Designed by Marysarah Quinn Without limiting the " +"rights under copyright reserved above, no part of this publication may be " +"reproduced, stored in or introduced into a retrieval system, or transmitted, " +"in any form or by any means (electronic, mechanical, photocopying, recording " +"or otherwise), without the prior written permission of both the copyright " +"owner and the above publisher of this book. The scanning, uploading, and " +"distribution of this book via the Internet or via any other means without " +"the permission of the publisher is illegal and punishable by law. Please " +"purchase only authorized electronic editions and do not participate in or " +"encourage electronic piracy of copyrighted materials. Your support of the " +"author's rights is appreciated." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"To Eric Eldred--whose work first drew me to this cause, and for whom it " +"continues still." +msgstr "" +"til eric eldred--hvis arbeid først trakk meg til denne saken, og for hvem " +"den fortsetter fremdeles." + +#. type: Content of: <book><chapter><figure><title> +msgid "Creative Commons, Some rights reserved" +msgstr "Creative commons, noen rettigheter" + +#. type: Content of: <book><chapter><figure> +msgid "<graphic fileref=\"webcc.gif\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><lot><title> +msgid "List of figures" +msgstr "figurliste" + +#. type: Content of: <book><chapter><title> +msgid "PREFACE" +msgstr "Forord" + +#. type: Content of: <book><chapter><para> +msgid "" +"At the end of his review of my first book, Code: And Other Laws of " +"Cyberspace, David Pogue, a brilliant writer and author of countless " +"technical and computer-related texts, wrote this:" +msgstr "" +"pÃ¥ slutten av sin gjennomgang av min første bok, kode: og andre lover av " +"cyberspace, david pogue, en glimrende skribent og forfatter av utallige " +"tekniske og -relaterte tekster, skrev dette:" + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "" +"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30 January " +"2000." +msgstr "" + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"Unlike actual law, Internet software has no capacity to punish. It doesn't " +"affect people who aren't online (and only a tiny minority of the world " +"population is). And if you don't like the Internet's system, you can always " +"flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Pogue was skeptical of the core argument of the book--that software, or " +"\"code,\" functioned as a kind of law--and his review suggested the happy " +"thought that if life in cyberspace got bad, we could always \"drizzle, " +"drazzle, druzzle, drome\"-like simply flip a switch and be back home. Turn " +"off the modem, unplug the computer, and any troubles that exist in that " +"space wouldn't \"affect\" us anymore." +msgstr "" + +#. PAGE BREAK 12 +#. type: Content of: <book><chapter><para> +msgid "" +"Pogue might have been right in 1999--I'm skeptical, but maybe. But even if " +"he was right then, the point is not right now: Free Culture is about the " +"troubles the Internet causes even after the modem is turned off. It is an " +"argument about how the battles that now rage regarding life on-line have " +"fundamentally affected \"people who aren't online.\" There is no switch that " +"will insulate us from the Internet's effect." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"But unlike Code, the argument here is not much about the Internet itself. It " +"is instead about the consequence of the Internet to a part of our tradition " +"that is much more fundamental, and, as hard as this is for a geek-wanna-be " +"to admit, much more important." +msgstr "" +"men i motsetning til koden, argumentet her er ikke mye om Internett selv. i " +"stedet er det om konsekvens av Internett til en del av vÃ¥r tradisjon som er " +"mye mer grunnleggende, og sÃ¥ hardt som dette er for en geek-wanna-be " +"innrømme, mye viktigere." + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Richard M. Stallman, Free Software, Free Societies 57 ( Joshua Gay, ed. " +"2002)." +msgstr "" +"Richard m stallman, fri programvare, gratis samfunn 57 (joshua homofil, ed. " +"2002)." + +#. type: Content of: <book><chapter><para> +msgid "" +"That tradition is the way our culture gets made. As I explain in the pages " +"that follow, we come from a tradition of \"free culture\"--not \"free\" as " +"in \"free beer\" (to borrow a phrase from the founder of the freesoftware " +"movement<placeholder type=\"footnote\" id=\"0\"/>), but \"free\" as in " +"\"free speech,\" \"free markets,\" \"free trade,\" \"free enterprise,\" " +"\"free will,\" and \"free elections.\" A free culture supports and protects " +"creators and innovators. It does this directly by granting intellectual " +"property rights. But it does so indirectly by limiting the reach of those " +"rights, to guarantee that follow-on creators and innovators remain as free " +"as possible from the control of the past. A free culture is not a culture " +"without property, just as a free market is not a market in which everything " +"is free. The opposite of a free culture is a \"permission culture\"--a " +"culture in which creators get to create only with the permission of the " +"powerful, or of creators from the past." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"If we understood this change, I believe we would resist it. Not \"we\" on " +"the Left or \"you\" on the Right, but we who have no stake in the particular " +"industries of culture that defined the twentieth century. Whether you are " +"on the Left or the Right, if you are in this sense disinterested, then the " +"story I tell here will trouble you. For the changes I describe affect values " +"that both sides of our political culture deem fundamental." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"We saw a glimpse of this bipartisan outrage in the early summer of 2003. As " +"the FCC considered changes in media ownership rules that would relax limits " +"on media concentration, an extraordinary coalition generated more than " +"700,000 letters to the FCC opposing the change. As William Safire described " +"marching \"uncomfortably alongside CodePink Women for Peace and the National " +"Rifle Association, between liberal Olympia Snowe and conservative Ted " +"Stevens,\" he formulated perhaps most simply just what was at stake: the " +"concentration of power. And as he asked," +msgstr "" + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "William Safire, \"The Great Media Gulp,\" New York Times, 22 May 2003." +msgstr "" + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"Does that sound unconservative? Not to me. The concentration of power--" +"political, corporate, media, cultural--should be anathema to conservatives. " +"The diffusion of power through local control, thereby encouraging individual " +"participation, is the essence of federalism and the greatest expression of " +"democracy.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"This idea is an element of the argument of Free Culture, though my focus is " +"not just on the concentration of power produced by concentrations in " +"ownership, but more importantly, if because less visibly, on the " +"concentration of power produced by a radical change in the effective scope " +"of the law. The law is changing; that change is altering the way our culture " +"gets made; that change should worry you--whether or not you care about the " +"Internet, and whether you're on Safire's left or on his right. The " +"inspiration for the title and for much of the argument of this book comes " +"from the work of Richard Stallman and the Free Software Foundation. Indeed, " +"as I reread Stallman's own work, especially the essays in Free Software, " +"Free Society, I realize that all of the theoretical insights I develop here " +"are insights Stallman described decades ago. One could thus well argue that " +"this work is \"merely\" derivative." +msgstr "" + +#. PAGE BREAK 14 +#. type: Content of: <book><chapter><para> +msgid "" +"I accept that criticism, if indeed it is a criticism. The work of a lawyer " +"is always derivative, and I mean to do nothing more in this book than to " +"remind a culture about a tradition that has always been its own. Like " +"Stallman, I defend that tradition on the basis of values. Like Stallman, I " +"believe those are the values of freedom. And like Stallman, I believe those " +"are values of our past that will need to be defended in our future. A free " +"culture has been our past, but it will only be our future if we change the " +"path we are on right now. xv Like Stallman's arguments for free software, " +"an argument for free culture stumbles on a confusion that is hard to avoid, " +"and even harder to understand. A free culture is not a culture without " +"property; it is not a culture in which artists don't get paid. A culture " +"without property, or in which creators can't get paid, is anarchy, not " +"freedom. Anarchy is not what I advance here." +msgstr "" +"Jeg godtar at kritikk, hvis det er faktisk en kritikk. arbeidet med en " +"advokat er alltid avledede produkter, og jeg mener Ã¥ gjøre ingenting mer i " +"denne boken enn Ã¥ minne en kultur om en tradisjon som har alltid vært sin " +"egen. som stallman forsvare jeg denne tradisjonen pÃ¥ grunnlag av verdiene. " +"som stallman tror jeg det er verdiene av frihet. og som stallman, jeg tror " +"de er verdiene for vÃ¥r fortid som mÃ¥ forsvares i vÃ¥r fremtid. en fri kultur " +"har vært vÃ¥r fortid, men det vil bare være vÃ¥r fremtid hvis vi endrer banen " +"vi er pÃ¥ akkurat nÃ¥. XV som Stallmans argumenter gratis programvare, et " +"argument for fri kultur stumbles pÃ¥ en forvirring som er vanskelig Ã¥ unngÃ¥, " +"og enda vanskeligere Ã¥ forstÃ¥. en fri kultur er ikke en kultur uten " +"egenskapen; Det er ikke en kultur der kunstnere ikke fÃ¥r betalt. en kultur " +"uten egenskapen eller i hvilke skaperne kan ikke fÃ¥ betalt, er anarki, ikke " +"frihet. Anarki er ikke hva jeg forhÃ¥nd her." + +#. type: Content of: <book><chapter><para> +msgid "" +"Instead, the free culture that I defend in this book is a balance between " +"anarchy and control. A free culture, like a free market, is filled with " +"property. It is filled with rules of property and contract that get enforced " +"by the state. But just as a free market is perverted if its property becomes " +"feudal, so too can a free culture be queered by extremism in the property " +"rights that define it. That is what I fear about our culture today. It is " +"against that extremism that this book is written." +msgstr "" +"i stedet er for fri kultur som jeg forsvare i denne boken en balanse mellom " +"anarki og kontroll. en gratis kultur, som et fritt marked, er fylt med " +"egenskapen. Det er fylt med regler for egenskapen og kontrakt som fÃ¥ " +"hÃ¥ndheves av staten. men akkurat som et fritt marked er perverted Hvis " +"egenskapen blir føydale, slik ogsÃ¥ kan en fri kultur være queered av " +"ekstremisme i eiendomsrettigheter som definerer det. Det er det jeg frykter " +"om vÃ¥r kultur i dag. Det er mot at ekstremisme som denne boken er skrevet." + +#. type: Content of: <book><chapter><title> +msgid "INTRODUCTION" +msgstr "Introduksjon" + +#. type: Content of: <book><chapter><para> +msgid "" +"On December 17, 1903, on a windy North Carolina beach for just shy of one " +"hundred seconds, the Wright brothers demonstrated that a heavier-than-air, " +"self-propelled vehicle could fly. The moment was electric and its importance " +"widely understood. Almost immediately, there was an explosion of interest in " +"this newfound technology of manned flight, and a gaggle of innovators began " +"to build upon it." +msgstr "" +"pÃ¥ 17 desember 1903 viste pÃ¥ en vind Nord carolina strand for bare sjenert " +"av hundre sekunder, wright-brødrene at en tyngre enn luft, selvdrevne " +"kjøretøy kan fly. øyeblikket var elektrisk, og dens betydning forstÃ¥tt " +"allment. nesten umiddelbart, det var en eksplosjon av interesse i denne ny " +"teknologien av bemannede fly, og en gaggle av innovators begynte Ã¥ bygge " +"videre pÃ¥ den." + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: " +"Rothman Reprints, 1969), 18." +msgstr "" +"St. george tucker, blackstone's kommentarer 3 (south hackensack, NJ: rothman " +"opptrykk, 1969), 18." + +#. type: Content of: <book><chapter><para> +msgid "" +"At the time the Wright brothers invented the airplane, American law held " +"that a property owner presumptively owned not just the surface of his land, " +"but all the land below, down to the center of the earth, and all the space " +"above, to \"an indefinite extent, upwards.\"<placeholder type=\"footnote\" " +"id=\"0\"/> For many years, scholars had puzzled about how best to interpret " +"the idea that rights in land ran to the heavens. Did that mean that you " +"owned the stars? Could you prosecute geese for their willful and regular " +"trespass?" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Then came airplanes, and for the first time, this principle of American law--" +"deep within the foundations of our tradition, and acknowledged by the most " +"important legal thinkers of our past--mattered. If my land reaches to the " +"heavens, what happens when United flies over my field? Do I have the right " +"to banish it from my property? Am I allowed to enter into an exclusive " +"license with Delta Airlines? Could we set up an auction to decide how much " +"these rights are worth?" +msgstr "" +"sÃ¥ kom fly, og for første gang, dette prinsippet av amerikansk lov--dypt i " +"grunnlaget for vÃ¥r tradisjon og anerkjent av de viktigste juridiske tenkerne " +"fra vÃ¥r fortid--mattered. Hvis mitt land kommer til himmelen, hva skjer nÃ¥r " +"united flyr over mitt felt? har rett til Ã¥ forvise landet fra min eiendom? " +"kan jeg til Ã¥ inngÃ¥ en eksklusiv lisens med delta airlines? kan vi sette opp " +"en auksjon til Ã¥ bestemme hvor mye disse rettighetene er verdt?" + +#. type: Content of: <book><chapter><para> +msgid "" +"In 1945, these questions became a federal case. When North Carolina farmers " +"Thomas Lee and Tinie Causby started losing chickens because of low-flying " +"military aircraft (the terrified chickens apparently flew into the barn " +"walls and died), the Causbys filed a lawsuit saying that the government was " +"trespassing on their land. The airplanes, of course, never touched the " +"surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had " +"said, their land reached to \"an indefinite extent, upwards,\" then the " +"government was trespassing on their property, and the Causbys wanted it to " +"stop." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"The Supreme Court agreed to hear the Causbys' case. Congress had declared " +"the airways public, but if one's property really extended to the heavens, " +"then Congress's declaration could well have been an unconstitutional \"taking" +"\" of property without compensation. The Court acknowledged that \"it is " +"ancient doctrine that common law ownership of the land extended to the " +"periphery of the universe.\" But Justice Douglas had no patience for ancient " +"doctrine. In a single paragraph, hundreds of years of property law were " +"erased. As he wrote for the Court," +msgstr "" + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +#, fuzzy +#| msgid "" +#| "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find " +#| "that there could be a \\\"taking\\\" if the government's use of its land " +#| "effectively destroyed the value of the Causbys' land. This example was " +#| "suggested to me by Keith Aoki's wonderful piece, \\\"(Intellectual) " +#| "Property and Sovereignty: Notes Toward a Cultural Geography of Authorship," +#| "\\\" Stanford Law Review 48 (1996): 1293, 1333. See also Paul Goldstein, " +#| "Real Property (Mineola, N.Y.: Foundation Press, 1984), 1112­13." +msgid "" +"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that " +"there could be a \"taking\" if the government's use of its land effectively " +"destroyed the value of the Causbys' land. This example was suggested to me " +"by Keith Aoki's wonderful piece, \"(Intellectual) Property and Sovereignty: " +"Notes Toward a Cultural Geography of Authorship,\" Stanford Law Review 48 " +"(1996): 1293, 1333. See also Paul Goldstein, Real Property (Mineola, N.Y.: " +"Foundation Press, 1984), 1112­13." +msgstr "" +"USA v. causby, amerikanske 328 (1946): 256, 261. domstolen fant at det kan " +"bli en \\\"tar\\\" Hvis regjeringens bruken av sine land ødelagt effektivt " +"verdien av causbys' land. i dette eksemplet ble foreslÃ¥tt for meg av keith " +"aoki flott stykke, \\\"(immaterielle) og suverenitet: notater mot en " +"kulturelle geografi forfatterskap,\\\" stanford law gÃ¥ gjennom 48 (1996): " +"Ã¥ret etter, 1333. Se ogsÃ¥ paul goldstein, fast eiendom (mineola, n.y.: " +"foundation press (1984)), 1112­13." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"[The] doctrine has no place in the modern world. The air is a public " +"highway, as Congress has declared. Were that not true, every " +"transcontinental flight would subject the operator to countless trespass " +"suits. Common sense revolts at the idea. To recognize such private claims to " +"the airspace would clog these highways, seriously interfere with their " +"control and development in the public interest, and transfer into private " +"ownership that to which only the public has a just claim.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "\"Common sense revolts at the idea.\"" +msgstr "" + +#. PAGE BREAK 18 +#. type: Content of: <book><chapter><para> +msgid "" +"This is how the law usually works. Not often this abruptly or impatiently, " +"but eventually, this is how it works. It was Douglas's style not to dither. " +"Other justices would have blathered on for pages to reach the conclusion " +"that Douglas holds in a single line: \"Common sense revolts at the idea.\" " +"But whether it takes pages or a few words, it is the special genius of a " +"common law system, as ours is, that the law adjusts to the technologies of " +"the time. And as it adjusts, it changes. Ideas that were as solid as rock in " +"one age crumble in another." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Or at least, this is how things happen when there's no one powerful on the " +"other side of the change. The Causbys were just farmers. And though there " +"were no doubt many like them who were upset by the growing traffic in the " +"air (though one hopes not many chickens flew themselves into walls), the " +"Causbys of the world would find it very hard to unite and stop the idea, and " +"the technology, that the Wright brothers had birthed. The Wright brothers " +"spat airplanes into the technological meme pool; the idea then spread like a " +"virus in a chicken coop; farmers like the Causbys found themselves " +"surrounded by \"what seemed reasonable\" given the technology that the " +"Wrights had produced. They could stand on their farms, dead chickens in " +"hand, and shake their fists at these newfangled technologies all they " +"wanted. They could call their representatives or even file a lawsuit. But " +"in the end, the force of what seems \"obvious\" to everyone else--the power " +"of \"common sense\"--would prevail. Their \"private interest\" would not be " +"allowed to defeat an obvious public gain." +msgstr "" + +#. PAGE BREAK 19 +#. type: Content of: <book><chapter><para> +msgid "" +"Edwin Howard Armstrong is one of America's forgotten inventor geniuses. He " +"came to the great American inventor scene just after the titans Thomas " +"Edison and Alexander Graham Bell. But his work in the area of radio " +"technology was perhaps the most important of any single inventor in the " +"first fifty years of radio. He was better educated than Michael Faraday, who " +"as a bookbinder's apprentice had discovered electric induction in 1831. But " +"he had the same intuition about how the world of radio worked, and on at " +"least three occasions, Armstrong invented profoundly important technologies " +"that advanced our understanding of radio." +msgstr "" +"Edwin howard armstrong er en av Amerikas glemt oppfinner genier. Han kom til " +"den store amerikanske oppfinner scenen rett etter the Titans skriver thomas " +"edison og alexander graham bell. men hans arbeid i omrÃ¥det i radioteknologi " +"var kanskje den viktigste av alle enkelt oppfinner i de første femti Ã¥rene " +"av radio. Han utdannet seg bedre enn michael faraday, som en bookbinder " +"lærling hadde oppdaget elektrisk induksjon i 1831. men han hadde samme " +"intuisjon om hvordan verden av radio virket, og pÃ¥ minst tre anledninger, " +"armstrong oppfunnet svært viktig teknologier som avanserte vÃ¥r forstÃ¥else av " +"radio." + +#. type: Content of: <book><chapter><para> +msgid "" +"On the day after Christmas, 1933, four patents were issued to Armstrong for " +"his most significant invention--FM radio. Until then, consumer radio had " +"been amplitude-modulated (AM) radio. The theorists of the day had said that " +"frequency-modulated (FM) radio could never work. They were right about FM " +"radio in a narrow band of spectrum. But Armstrong discovered that frequency-" +"modulated radio in a wide band of spectrum would deliver an astonishing " +"fidelity of sound, with much less transmitter power and static." +msgstr "" +"pÃ¥ dagen etter jul, var 1933, fire patenter utstedt til armstrong for hans " +"viktigste oppfinnelse--fm-radio. inntil da, hadde forbruker radio vært " +"amplitude modulated (am)-radio. teoretikere av dagen hadde sagt at frekvens-" +"modulated (fm)-radio kan aldri fungere. de var rett om fm-radio i et smale " +"band av spekteret. men armstrong oppdaget at frekvens-modulated radio i et " +"bredt spektrum-band ville levere en forbløffende gjengivelse av lyd, med mye " +"mindre transmitter strøm og statisk." + +#. type: Content of: <book><chapter><para> +msgid "" +"On November 5, 1935, he demonstrated the technology at a meeting of the " +"Institute of Radio Engineers at the Empire State Building in New York City. " +"He tuned his radio dial across a range of AM stations, until the radio " +"locked on a broadcast that he had arranged from seventeen miles away. The " +"radio fell totally silent, as if dead, and then with a clarity no one else " +"in that room had ever heard from an electrical device, it produced the sound " +"of an announcer's voice: \"This is amateur station W2AG at Yonkers, New " +"York, operating on frequency modulation at two and a half meters.\"" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "The audience was hearing something no one had thought possible:" +msgstr "publikum var høre noe ingen trodde mulig:" + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "" +"Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong " +"(Philadelphia: J. B. Lipincott Company, 1956), 209." +msgstr "" +"Lawrence lessing, mann av Hi-Fi: edwin howard armstrong (philadelphia: j. b. " +"lipincott selskap, 1956), 209." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"A glass of water was poured before the microphone in Yonkers; it sounded " +"like a glass of water being poured. . . . A paper was crumpled and torn; it " +"sounded like paper and not like a crackling forest fire. . . . Sousa marches " +"were played from records and a piano solo and guitar number were " +"performed. . . . The music was projected with a live-ness rarely if ever " +"heard before from a radio \"music box.\"<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" + +#. PAGE BREAK 20 +#. type: Content of: <book><chapter><para> +msgid "" +"As our own common sense tells us, Armstrong had discovered a vastly superior " +"radio technology. But at the time of his invention, Armstrong was working " +"for RCA. RCA was the dominant player in the then dominant AM radio market. " +"By 1935, there were a thousand radio stations across the United States, but " +"the stations in large cities were all owned by a handful of networks." +msgstr "" +"som vÃ¥r egen sunn fornuft forteller oss, hadde armstrong oppdaget en " +"telefonsamtale radioteknologi. men pÃ¥ tidspunktet for hans oppfinnelse, " +"armstrong var i arbeid for rca. RCA var den dominerende aktør i det deretter " +"dominerende am radiomarkedet. som 1935, var det tusen radiostasjoner over " +"hele USA, men stasjonene i store byer var eid av en hÃ¥ndfull av nettverk." + +#. type: Content of: <book><chapter><para> +msgid "" +"RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " +"Armstrong discover a way to remove static from AM radio. So Sarnoff was " +"quite excited when Armstrong told him he had a device that removed static " +"from \"radio.\" But when Armstrong demonstrated his invention, Sarnoff was " +"not pleased." +msgstr "" + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "" +"See \"Saints: The Heroes and Geniuses of the Electronic Era,\" First " +"Electronic Church of America, at www.webstationone.com/fecha, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"I thought Armstrong would invent some kind of a filter to remove static from " +"our AM radio. I didn't think he'd start a revolution-- start up a whole damn " +"new industry to compete with RCA.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Armstrong's invention threatened RCA's AM empire, so the company launched a " +"campaign to smother FM radio. While FM may have been a superior technology, " +"Sarnoff was a superior tactician. As one author described," +msgstr "" +"Armstrongs oppfinnelse truet rca's am imperium, slik at selskapet lansert en " +"kampanje for Ã¥ smother fm-radio. mens fm kan ha vært en overlegen teknologi, " +"var sarnoff en overlegen taktiker. som en forfatter som beskrevet," + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "Lessing, 226." +msgstr "Lessing, 226." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"The forces for FM, largely engineering, could not overcome the weight of " +"strategy devised by the sales, patent, and legal offices to subdue this " +"threat to corporate position. For FM, if allowed to develop unrestrained, " +"posed . . . a complete reordering of radio power . . . and the eventual " +"overthrow of the carefully restricted AM system on which RCA had grown to " +"power.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"RCA at first kept the technology in house, insisting that further tests were " +"needed. When, after two years of testing, Armstrong grew impatient, RCA " +"began to use its power with the government to stall FM radio's deployment " +"generally. In 1936, RCA hired the former head of the FCC and assigned him " +"the task of assuring that the FCC assign spectrum in a way that would " +"castrate FM--principally by moving FM radio to a different band of spectrum. " +"At first, these efforts failed. But when Armstrong and the nation were " +"distracted by World War II, RCA's work began to be more successful. Soon " +"after the war ended, the FCC announced a set of policies that would have one " +"clear effect: FM radio would be crippled. As Lawrence Lessing described it," +msgstr "" +"RCA først holdt teknologien i huset, insistere pÃ¥ at ytterligere tester var " +"nødvendig. NÃ¥r, etter to Ã¥r med testing, armstrong vokste utÃ¥lmodige, " +"begynte rca Ã¥ bruke sin makt med regjeringen til stall fm-radio distribusjon " +"generelt. i 1936, rca ansatt tidligere leder av fcc og tilordnet ham " +"oppgaven med Ã¥ sikre at fcc tilordne spekteret pÃ¥ en mÃ¥te som ville castrate " +"fm--hovedsakelig ved Ã¥ flytte fm-radio til et annet band av spekteret. ved " +"første, dette arbeidet ikke. men nÃ¥r armstrong og nasjonen ble distrahert av " +"andre verdenskrig, rca's arbeid begynte Ã¥ bli mer vellykket. snart etter at " +"krigen sluttet, fcc annonsert et sett med policyer som ville ha en klar " +"effekt: fm-radio ville være invalidiserte. som lawrence beskrevet lessing " +"det," + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "Lessing, 256." +msgstr "Lessing, 256." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"The series of body blows that FM radio received right after the war, in a " +"series of rulings manipulated through the FCC by the big radio interests, " +"were almost incredible in their force and deviousness.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"To make room in the spectrum for RCA's latest gamble, television, FM radio " +"users were to be moved to a totally new spectrum band. The power of FM radio " +"stations was also cut, meaning FM could no longer be used to beam programs " +"from one part of the country to another. (This change was strongly " +"supported by AT&T, because the loss of FM relaying stations would mean " +"radio stations would have to buy wired links from AT&T.) The spread of " +"FM radio was thus choked, at least temporarily." +msgstr "" +"Hvis du vil lage plass i spekteret for de nyeste gamble, TV, fm radio " +"brukere var Ã¥ bli flyttet til et helt nytt spektrum band. kraften til fm-" +"radiostasjoner ble ogsÃ¥ kuttet, betydning fm kan ikke lenger brukes til Ã¥ " +"overføre trÃ¥dløst programmer fra én del av landet til en annen. (denne " +"endringen var sterkt støttes av at&t, fordi tapet av fm relésending " +"stasjoner ville bety radiostasjoner mÃ¥ kjøpe kablet koblinger fra at&t.) " +"spredningen av fm-radio ble dermed choked, minst midlertidig." + +#. type: Content of: <book><chapter><para> +msgid "" +"Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's " +"patents. After incorporating FM technology into the emerging standard for " +"television, RCA declared the patents invalid--baselessly, and almost fifteen " +"years after they were issued. It thus refused to pay him royalties. For six " +"years, Armstrong fought an expensive war of litigation to defend the " +"patents. Finally, just as the patents expired, RCA offered a settlement so " +"low that it would not even cover Armstrong's lawyers' fees. Defeated, " +"broken, and now broke, in 1954 Armstrong wrote a short note to his wife and " +"then stepped out of a thirteenth-story window to his death." +msgstr "" +"Armstrong motstÃ¥tt rca's innsats. svar motstÃ¥tt rca Armstrongs patenter. " +"etter innlemme fm-teknologien i den nye standarden for TV, rca erklærte " +"patentene ugyldig--baselessly og nesten femten Ã¥r etter at de ble utstedt. " +"det dermed nektet Ã¥ betale royalties til ham. i seks Ã¥r kjempet armstrong en " +"kostbar krig til søksmÃ¥l for Ã¥ forsvare patentene. til slutt, akkurat som " +"patentene utløpt, rca tilbudt en utligning som er sÃ¥ lav at det ikke ville " +"selv dekke Armstrongs lawyers avgifter. beseiret, ødelagte og nÃ¥ blakk, i " +"1954 armstrong skrev en kort notat til kona og deretter gikk ut av et " +"trettende-etasjers vindu til hans død." + +#. PAGE BREAK 22 +#. type: Content of: <book><chapter><para> +msgid "" +"This is how the law sometimes works. Not often this tragically, and rarely " +"with heroic drama, but sometimes, this is how it works. From the beginning, " +"government and government agencies have been subject to capture. They are " +"more likely captured when a powerful interest is threatened by either a " +"legal or technical change. That powerful interest too often exerts its " +"influence within the government to get the government to protect it. The " +"rhetoric of this protection is of course always public spirited; the reality " +"is something different. Ideas that were as solid as rock in one age, but " +"that, left to themselves, would crumble in another, are sustained through " +"this subtle corruption of our political process. RCA had what the Causbys " +"did not: the power to stifle the effect of technological change." +msgstr "" +"Dette er hvordan loven fungerer noen ganger. ikke ofte dette tragisk, og " +"sjelden med heltemodig drama, men noen ganger, dette er hvordan det " +"fungerer. fra begynnelsen, har regjeringen og departementer vært utsatt for " +"fangst. de er mer sannsynlig fanget nÃ¥r en sterk interesse er truet av en " +"juridisk eller teknisk endring. Denne kraftige interessen har for ofte sin " +"innflytelse i regjeringen Ã¥ fÃ¥ regjeringen til Ã¥ beskytte den. retorikken i " +"denne beskyttelsen er selvfølgelig alltid offentlig energisk; virkeligheten " +"er noe annet. ideer som var som solid som en stein i en alder, men som, " +"igjen til seg selv, vil forvitre i en annen, er vedvarende gjennom denne " +"subtile korrupsjon av vÃ¥re politiske prosessen. RCA hadde hva causbys gjorde " +"ikke: makt til Ã¥ undertrykke effekten av teknologiske endringer." + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Amanda Lenhart, \"The Ever-Shifting Internet Population: A New Look at " +"Internet Access and the Digital Divide,\" Pew Internet and American Life " +"Project, 15 April 2003: 6, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #2</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"There's no single inventor of the Internet. Nor is there any good date upon " +"which to mark its birth. Yet in a very short time, the Internet has become " +"part of ordinary American life. According to the Pew Internet and American " +"Life Project, 58 percent of Americans had access to the Internet in 2002, up " +"from 49 percent two years before.<placeholder type=\"footnote\" id=\"0\"/> " +"That number could well exceed two thirds of the nation by the end of 2004." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"As the Internet has been integrated into ordinary life, it has changed " +"things. Some of these changes are technical--the Internet has made " +"communication faster, it has lowered the cost of gathering data, and so on. " +"These technical changes are not the focus of this book. They are important. " +"They are not well understood. But they are the sort of thing that would " +"simply go away if we all just switched the Internet off. They don't affect " +"people who don't use the Internet, or at least they don't affect them " +"directly. They are the proper subject of a book about the Internet. But this " +"is not a book about the Internet." +msgstr "" +"som Internett er blitt integrert i ordinært liv, endret ting. noen av disse " +"endringene er teknisk--Internett har gjort kommunikasjon raskere, det har " +"senket kostnadene for samle inn data, og sÃ¥ videre. Disse tekniske endringer " +"er ikke fokus for denne boken. de er viktig. de er ikke godt forstÃ¥tt. men " +"de er slags ting som ville bare gÃ¥ bort hvis vi alle bare slÃ¥tt Internett " +"av. de pÃ¥virker ikke personer som ikke bruker Internett, eller i det minste " +"de pÃ¥virker ikke dem direkte. de er riktig gjenstand for en bok om " +"Internett. men dette er ikke en bok om Internett." + +#. type: Content of: <book><chapter><para> +msgid "" +"Instead, this book is about an effect of the Internet beyond the Internet " +"itself: an effect upon how culture is made. My claim is that the Internet " +"has induced an important and unrecognized change in that process. That " +"change will radically transform a tradition that is as old as the Republic " +"itself. Most, if they recognized this change, would reject it. Yet most " +"don't even see the change that the Internet has introduced." +msgstr "" +"i stedet, denne boken er om en effekt av Internett utover Internett i seg " +"selv: en effekt pÃ¥ hvordan kultur er laget. min pÃ¥stand er at Internett har " +"indusert en viktig og ukjent endring i denne prosessen. Denne endringen vil " +"radikalt transformere en tradisjon som er like gammel som Republikken seg " +"selv. mest, hvis de gjenkjent denne endringen, vil avvise det. de fleste ser " +"ikke ennÃ¥ endringen som Internett har introdusert." + +#. PAGE BREAK 23 +#. type: Content of: <book><chapter><para> +msgid "" +"We can glimpse a sense of this change by distinguishing between commercial " +"and noncommercial culture, and by mapping the law's regulation of each. By " +"\"commercial culture\" I mean that part of our culture that is produced and " +"sold or produced to be sold. By \"noncommercial culture\" I mean all the " +"rest. When old men sat around parks or on street corners telling stories " +"that kids and others consumed, that was noncommercial culture. When Noah " +"Webster published his \"Reader,\" or Joel Barlow his poetry, that was " +"commercial culture." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"At the beginning of our history, and for just about the whole of our " +"tradition, noncommercial culture was essentially unregulated. Of course, if " +"your stories were lewd, or if your song disturbed the peace, then the law " +"might intervene. But the law was never directly concerned with the creation " +"or spread of this form of culture, and it left this culture \"free.\" The " +"ordinary ways in which ordinary individuals shared and transformed their " +"culture--telling stories, reenacting scenes from plays or TV, participating " +"in fan clubs, sharing music, making tapes--were left alone by the law." +msgstr "" + +#. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "This is not the only purpose of copyright, though it is the " +#| "overwhelmingly primary purpose of the copyright established in the " +#| "federal constitution. State copyright law historically protected not " +#| "just the commercial interest in publication, but also a privacy interest. " +#| "By granting authors the exclusive right to first publication, state " +#| "copyright law gave authors the power to control the spread of facts about " +#| "them. See Samuel D. Warren and Louis D. Brandeis, \\\"The Right to " +#| "Privacy,\\\" Harvard Law Review 4 (1890): 193, 198­200." +msgid "" +"This is not the only purpose of copyright, though it is the overwhelmingly " +"primary purpose of the copyright established in the federal constitution. " +"State copyright law historically protected not just the commercial interest " +"in publication, but also a privacy interest. By granting authors the " +"exclusive right to first publication, state copyright law gave authors the " +"power to control the spread of facts about them. See Samuel D. Warren and " +"Louis D. Brandeis, \"The Right to Privacy,\" Harvard Law Review 4 (1890): " +"193, 198­200." +msgstr "" +"Dette er ikke det eneste formÃ¥let med opphavsrett, men det er overveldende " +"HovedformÃ¥let med opphavsretten etablert i federal grunnlov. copyright " +"lovene i delstaten beskyttet historisk ikke bare kommersielle interesse i " +"publikasjonen, men ogsÃ¥ en interesse for personvern. ved Ã¥ gi forfattere " +"eneretten til første publikasjon, ga copyright lovene i delstaten forfattere " +"makt til Ã¥ kontrollere spredningen av fakta om dem. se d. samuel d. warren " +"og louis brandeis, \\\"rett til personvern,\\\" harvard law gÃ¥ gjennom 4 " +"(1890): 193, 198­200." + +#. type: Content of: <book><chapter><para> +msgid "" +"The focus of the law was on commercial creativity. At first slightly, then " +"quite extensively, the law protected the incentives of creators by granting " +"them exclusive rights to their creative work, so that they could sell those " +"exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" " +"id=\"0\"/> This is also, of course, an important part of creativity and " +"culture, and it has become an increasingly important part in America. But in " +"no sense was it dominant within our tradition. It was instead just one part, " +"a controlled part, balanced with the free." +msgstr "" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Jessica Litman, Digital Copyright (New York: Prometheus Books, 2001), " +"ch. 13." +msgstr "" +"se jessica litman, digitale copyright (new york: prometheus bøker, 2001), " +"ch. 13." + +#. type: Content of: <book><chapter><para> +msgid "" +"This rough divide between the free and the controlled has now been erased." +"<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the stage for " +"this erasure and, pushed by big media, the law has now affected it. For the " +"first time in our tradition, the ordinary ways in which individuals create " +"and share culture fall within the reach of the regulation of the law, which " +"has expanded to draw within its control a vast amount of culture and " +"creativity that it never reached before. The technology that preserved the " +"balance of our history--between uses of our culture that were free and uses " +"of our culture that were only upon permission--has been undone. The " +"consequence is that we are less and less a free culture, more and more a " +"permission culture." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"This change gets justified as necessary to protect commercial creativity. " +"And indeed, protectionism is precisely its motivation. But the protectionism " +"that justifies the changes that I will describe below is not the limited and " +"balanced sort that has defined the law in the past. This is not a " +"protectionism to protect artists. It is instead a protectionism to protect " +"certain forms of business. Corporations threatened by the potential of the " +"Internet to change the way both commercial and noncommercial culture are " +"made and shared have united to induce lawmakers to use the law to protect " +"them. It is the story of RCA and Armstrong; it is the dream of the Causbys." +msgstr "" +"Denne endringen blir rettferdiggjort nÃ¥r det er nødvendig Ã¥ beskytte " +"kommersielle kreativitet. og proteksjonistisk er faktisk nettopp sin " +"motivasjon. men proteksjonistisk som rettferdiggjør endringene som jeg vil " +"beskrive nedenfor er ikke begrenset og balansert Sorter som har definert " +"loven i siste. Dette er ikke en proteksjonistisk Ã¥ beskytte kunstnere. i " +"stedet er det en proteksjonistisk Ã¥ beskytte visse former for virksomheten. " +"selskaper truet av potensial av Internett til Ã¥ endre mÃ¥ten bÃ¥de " +"kommersielle og ikke-kommersiell kultur er laget og delt har forent Ã¥ " +"indusere lovgivere til Ã¥ bruke loven til Ã¥ beskytte dem. Det er historien om " +"rca og armstrong; Det er drømmen av causbys." + +#. type: Content of: <book><chapter><para> +msgid "" +"For the Internet has unleashed an extraordinary possibility for many to " +"participate in the process of building and cultivating a culture that " +"reaches far beyond local boundaries. That power has changed the marketplace " +"for making and cultivating culture generally, and that change in turn " +"threatens established content industries. The Internet is thus to the " +"industries that built and distributed content in the twentieth century what " +"FM radio was to AM radio, or what the truck was to the railroad industry of " +"the nineteenth century: the beginning of the end, or at least a substantial " +"transformation. Digital technologies, tied to the Internet, could produce a " +"vastly more competitive and vibrant market for building and cultivating " +"culture; that market could include a much wider and more diverse range of " +"creators; those creators could produce and distribute a much more vibrant " +"range of creativity; and depending upon a few important factors, those " +"creators could earn more on average from this system than creators do today--" +"all so long as the RCAs of our day don't use the law to protect themselves " +"against this competition." +msgstr "" +"for Internett har utløste en ekstraordinære mulighet for mange til Ã¥ delta i " +"ferd med Ã¥ bygge og pleie en kultur som gÃ¥r langt ut over lokale grenser. at " +"strøm er endret markedet for Ã¥ lage og dyrke kultur Generelt, og at " +"endringen i sin tur truer etablert innhold bransjer. Internett er dermed til " +"bransjer som bygget og distribuerte innholdet i det tjuende Ã¥rhundret hva fm-" +"radio var pÃ¥ am-radio, eller hva bilen var til jernbane industrien av det " +"nittende Ã¥rhundre: begynnelsen av slutten, eller minst en betydelig " +"transformasjon. Digital teknologi, knyttet til Internett, kunne produsere en " +"langt mer konkurransedyktig og vibrerende markedet for Ã¥ bygge og pleie " +"kultur; Dette markedet kan omfatte en mye større og mer variert utvalg av " +"skaperne; disse skaperne kunne produsere og distribuere en mye mer levende " +"rekke kreativitet; og avhengig av noen viktige faktorer, de skaperne kunne " +"tjene mer i gjennomsnitt fra dette systemet enn skaperne gjør i dag--alle, " +"sÃ¥ lenge rcas i dag ikke bruker lov til Ã¥ beskytte seg mot denne " +"konkurransen." + +#. type: Content of: <book><chapter><para> +msgid "" +"Yet, as I argue in the pages that follow, that is precisely what is " +"happening in our culture today. These modern-day equivalents of the early " +"twentieth-century radio or nineteenth-century railroads are using their " +"power to get the law to protect them against this new, more efficient, more " +"vibrant technology for building culture. They are succeeding in their plan " +"to remake the Internet before the Internet remakes them." +msgstr "" +"Likevel, som jeg hevder pÃ¥ sidene som følger, som er nøyaktig hva som skjer " +"i vÃ¥r kultur i dag. Disse moderne-dag-ekvivalenter av tidlig 1900-tallet-" +"radio eller av 1800-tallet jernbaner bruker deres makt for Ã¥ fÃ¥ lov til Ã¥ " +"beskytte dem mot dette nye, mer effektive, mer levende teknologi for bygging " +"av kultur. de lykkes i sin plan Ã¥ remake Internett før Internett remakes dem." + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " +"Tools to Turn the Net into an Illicit Video Club,\" New York Times, 17 " +"January 2002." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"It doesn't seem this way to many. The battles over copyright and the " +"Internet seem remote to most. To the few who follow them, they seem mainly " +"about a much simpler brace of questions--whether \"piracy\" will be " +"permitted, and whether \"property\" will be protected. The \"war\" that has " +"been waged against the technologies of the Internet--what Motion Picture " +"Association of America (MPAA) president Jack Valenti calls his \"own " +"terrorist war\"<placeholder type=\"footnote\" id=\"0\"/>--has been framed as " +"a battle about the rule of law and respect for property. To know which side " +"to take in this war, most think that we need only decide whether we're for " +"property or against it." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"If those really were the choices, then I would be with Jack Valenti and the " +"content industry. I, too, am a believer in property, and especially in the " +"importance of what Mr. Valenti nicely calls \"creative property.\" I believe " +"that \"piracy\" is wrong, and that the law, properly tuned, should punish " +"\"piracy,\" whether on or off the Internet." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"But those simple beliefs mask a much more fundamental question and a much " +"more dramatic change. My fear is that unless we come to see this change, the " +"war to rid the world of Internet \"pirates\" will also rid our culture of " +"values that have been integral to our tradition from the start." +msgstr "" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law " +"Journal 106 (1996): 283." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"These values built a tradition that, for at least the first 180 years of our " +"Republic, guaranteed creators the right to build freely upon their past, and " +"protected creators and innovators from either state or private control. The " +"First Amendment protected creators against state control. And as Professor " +"Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> " +"copyright law, properly balanced, protected creators against private " +"control. Our tradition was thus neither Soviet nor the tradition of patrons. " +"It instead carved out a wide berth within which creators could cultivate and " +"extend our culture." +msgstr "" + +#. type: Content of: <book><chapter><para> +#, fuzzy +#| msgid "" +#| "Yet the law's response to the Internet, when tied to changes in the " +#| "technology of the Internet itself, has massively increased the effective " +#| "regulation of creativity in America. To build upon or critique the " +#| "culture around us one must ask, Oliver Twist­like, for permission first. " +#| "Permission is, of course, often granted--but it is not often granted to " +#| "the critical or the independent. We have built a kind of cultural " +#| "nobility; those within the noble class live easily; those outside it " +#| "don't. But it is nobility of any form that is alien to our tradition." +msgid "" +"Yet the law's response to the Internet, when tied to changes in the " +"technology of the Internet itself, has massively increased the effective " +"regulation of creativity in America. To build upon or critique the culture " +"around us one must ask, Oliver Twist­like, for permission first. Permission " +"is, of course, often granted--but it is not often granted to the critical or " +"the independent. We have built a kind of cultural nobility; those within the " +"noble class live easily; those outside it don't. But it is nobility of any " +"form that is alien to our tradition." +msgstr "" +"lovens svar pÃ¥ Internett, nÃ¥r knyttet til endringer i teknologi for " +"Internett selv, øket ennÃ¥ svært effektiv regulering av kreativitet i " +"Amerika. Hvis du vil bygge pÃ¥ eller kritikk kultur rundt oss mÃ¥ du be om, " +"oliver twist­like, om tillatelse først. tillatelsen er selvfølgelig ofte " +"gitt--, men det er ikke ofte gis til den kritiske eller independent. Vi har " +"bygd opp en slags kulturelle adel; de i edle klassen leve enkelt; dem " +"utenfor ikke. men det er adel noen form som er fremmed for vÃ¥r tradisjon." + +#. type: Content of: <book><chapter><para> +msgid "" +"The story that follows is about this war. Is it not about the \"centrality " +"of technology\" to ordinary life. I don't believe in gods, digital or " +"otherwise. Nor is it an effort to demonize any individual or group, for " +"neither do I believe in a devil, corporate or otherwise. It is not a " +"morality tale. Nor is it a call to jihad against an industry." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"It is instead an effort to understand a hopelessly destructive war inspired " +"by the technologies of the Internet but reaching far beyond its code. And by " +"understanding this battle, it is an effort to map peace. There is no good " +"reason for the current struggle around Internet technologies to continue. " +"There will be great harm to our tradition and culture if it is allowed to " +"continue unchecked. We must come to understand the source of this war. We " +"must resolve it soon." +msgstr "" +"i stedet er det et forsøk pÃ¥ Ã¥ forstÃ¥ en hÃ¥pløst ødeleggende krig som er " +"inspirert av teknologien av Internett, men nÃ¥ langt utenfor koden. og ved Ã¥ " +"forstÃ¥ dette slaget, det er et forsøk pÃ¥ Ã¥ tilordne fred. Det er ingen god " +"grunn for gjeldende kampen rundt Internett-teknologier for Ã¥ fortsette. det " +"vil være stor skade pÃ¥ vÃ¥r tradisjon og kultur Hvis det er lov til Ã¥ " +"fortsette ukontrollert. Vi mÃ¥ komme til Ã¥ forstÃ¥ kilden til denne krigen. Vi " +"mÃ¥ løse det snart." + +#. type: Content of: <book><chapter><para> +msgid "" +"Like the Causbys' battle, this war is, in part, about \"property.\" The " +"property of this war is not as tangible as the Causbys', and no innocent " +"chicken has yet to lose its life. Yet the ideas surrounding this \"property" +"\" are as obvious to most as the Causbys' claim about the sacredness of " +"their farm was to them. We are the Causbys. Most of us take for granted the " +"extraordinarily powerful claims that the owners of \"intellectual property\" " +"now assert. Most of us, like the Causbys, treat these claims as obvious. And " +"hence we, like the Causbys, object when a new technology interferes with " +"this property. It is as plain to us as it was to them that the new " +"technologies of the Internet are \"trespassing\" upon legitimate claims of " +"\"property.\" It is as plain to us as it was to them that the law should " +"intervene to stop this trespass." +msgstr "" + +#. PAGE BREAK 27 +#. type: Content of: <book><chapter><para> +msgid "" +"And thus, when geeks and technologists defend their Armstrong or Wright " +"brothers technology, most of us are simply unsympathetic. Common sense does " +"not revolt. Unlike in the case of the unlucky Causbys, common sense is on " +"the side of the property owners in this war. Unlike the lucky Wright " +"brothers, the Internet has not inspired a revolution on its side." +msgstr "" +"og dermed nÃ¥r geeks og Teknologorganisasjon forsvare sin armstrong eller " +"wright brødre teknologi, de fleste av oss er bare usympatiske. sunn fornuft " +"opprør ikke. i motsetning til nÃ¥r det gjelder uheldig causbys er sunn " +"fornuft pÃ¥ siden av bolig i denne krigen. i motsetning til heldig wright " +"brødrene, har Internett ikke inspirert en revolusjon pÃ¥ høykant." + +#. type: Content of: <book><chapter><para> +msgid "" +"My hope is to push this common sense along. I have become increasingly " +"amazed by the power of this idea of intellectual property and, more " +"importantly, its power to disable critical thought by policy makers and " +"citizens. There has never been a time in our history when more of our " +"\"culture\" was as \"owned\" as it is now. And yet there has never been a " +"time when the concentration of power to control the uses of culture has been " +"as unquestioningly accepted as it is now." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"The puzzle is, Why? Is it because we have come to understand a truth about " +"the value and importance of absolute property over ideas and culture? Is it " +"because we have discovered that our tradition of rejecting such an absolute " +"claim was wrong?" +msgstr "" +"puslespillet er, hvorfor? er det fordi vi har begynt Ã¥ forstÃ¥ en sannheten " +"om verdien og betydningen av absolutt egenskapen over ideer og kultur? er " +"det fordi vi har oppdaget at vÃ¥r tradisjon for Ã¥ avvise slikt et absolutt " +"krav var galt?" + +#. type: Content of: <book><chapter><para> +msgid "" +"Or is it because the idea of absolute property over ideas and culture " +"benefits the RCAs of our time and fits our own unreflective intuitions?" +msgstr "" +"eller er det fordi ideen om absolutt egenskapen over ideer og kultur " +"fordeler rcas i vÃ¥r tid og passer vÃ¥r egen virke ureflekterende intuisjoner?" + +#. type: Content of: <book><chapter><para> +msgid "" +"Is the radical shift away from our tradition of free culture an instance of " +"America correcting a mistake from its past, as we did after a bloody war " +"with slavery, and as we are slowly doing with inequality? Or is the radical " +"shift away from our tradition of free culture yet another example of a " +"political system captured by a few powerful special interests?" +msgstr "" +"er det radikalt skiftet bort fra vÃ¥r tradisjon for fri kultur en forekomst " +"av Amerika korrigere en feil fra sin fortid som vi gjorde etter en blodig " +"krig med slaveri, og som vi sakte gjør med ulikhet? eller er radikalt skifte " +"bort fra vÃ¥r tradisjon for fri kultur ennÃ¥ et annet eksempel pÃ¥ et politisk " +"system som fanges opp av noen kraftige spesielle interesser?" + +#. type: Content of: <book><chapter><para> +msgid "" +"Does common sense lead to the extremes on this question because common sense " +"actually believes in these extremes? Or does common sense stand silent in " +"the face of these extremes because, as with Armstrong versus RCA, the more " +"powerful side has ensured that it has the more powerful view?" +msgstr "" +"sunn fornuft fører til ekstreme pÃ¥ dette spørsmÃ¥let fordi sunn fornuft " +"faktisk tror pÃ¥ disse ekstreme? eller gjør sunn fornuft stÃ¥ stille i " +"ansiktet av disse ytterpunktene fordi, som med armstrong versus rca, " +"kraftigere siden har sikret at det har kraftigere visningen?" + +#. PAGE BREAK 28 +#. type: Content of: <book><chapter><para> +msgid "" +"I don't mean to be mysterious. My own views are resolved. I believe it was " +"right for common sense to revolt against the extremism of the Causbys. I " +"believe it would be right for common sense to revolt against the extreme " +"claims made today on behalf of \"intellectual property.\" What the law " +"demands today is increasingly as silly as a sheriff arresting an airplane " +"for trespass. But the consequences of this silliness will be much more " +"profound." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"The struggle that rages just now centers on two ideas: \"piracy\" and " +"\"property.\" My aim in this book's next two parts is to explore these two " +"ideas." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"My method is not the usual method of an academic. I don't want to plunge you " +"into a complex argument, buttressed with references to obscure French " +"theorists--however natural that is for the weird sort we academics have " +"become. Instead I begin in each part with a collection of stories that set a " +"context within which these apparently simple ideas can be more fully " +"understood." +msgstr "" +"min metode er ikke vanlig metode av en akademiker. Jeg ønsker ikke Ã¥ satse " +"du i en kompleks argument, buttressed med referanser til obskure franske " +"teoretikere--men naturlig som gjelder rare sorteringen vi akademikere har " +"blitt. i stedet begynner jeg i hver del med en samling av historier som " +"angir en kontekst som er innenfor disse tilsynelatende enkle ideer kan være " +"mer fullt forstÃ¥tt." + +#. type: Content of: <book><chapter><para> +msgid "" +"The two sections set up the core claim of this book: that while the Internet " +"has indeed produced something fantastic and new, our government, pushed by " +"big media to respond to this \"something new,\" is destroying something very " +"old. Rather than understanding the changes the Internet might permit, and " +"rather than taking time to let \"common sense\" resolve how best to respond, " +"we are allowing those most threatened by the changes to use their power to " +"change the law--and more importantly, to use their power to change something " +"fundamental about who we have always been." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"We allow this, I believe, not because it is right, and not because most of " +"us really believe in these changes. We allow it because the interests most " +"threatened are among the most powerful players in our depressingly " +"compromised process of making law. This book is the story of one more " +"consequence of this form of corruption--a consequence to which most of us " +"remain oblivious." +msgstr "" +"Vi tillater dette, jeg tror, ikke fordi det er riktig, og ikke fordi de " +"fleste av oss virkelig tror pÃ¥ disse endringene. Vi tillater det fordi " +"interesser som er truet mest er blant de mektigste spillerne i vÃ¥re " +"depressingly kompromittert prosessen med Ã¥ lage lov. Denne boken er " +"historien om en mer konsekvens av denne formen for korrupsjon--en konsekvens " +"som de fleste av oss fortsatt oblivious." + +#. type: Content of: <book><chapter><title> +msgid "\"PIRACY\"" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Since the inception of the law regulating creative property, there has been " +"a war against \"piracy.\" The precise contours of this concept, \"piracy,\" " +"are hard to sketch, but the animating injustice is easy to capture. As Lord " +"Mansfield wrote in a case that extended the reach of English copyright law " +"to include sheet music," +msgstr "" + +#. f1 +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)." +msgstr "Bach v. longman, 98 eng. rep 1274 (1777) (mansfield)." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"A person may use the copy by playing it, but he has no right to rob the " +"author of the profit, by multiplying copies and disposing of them for his " +"own use.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 31 +#. type: Content of: <book><chapter><para> +msgid "" +"Today we are in the middle of another \"war\" against \"piracy.\" The " +"Internet has provoked this war. The Internet makes possible the efficient " +"spread of content. Peer-to-peer (p2p) file sharing is among the most " +"efficient of the efficient technologies the Internet enables. Using " +"distributed intelligence, p2p systems facilitate the easy spread of content " +"in a way unimagined a generation ago." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"This efficiency does not respect the traditional lines of copyright. The " +"network doesn't discriminate between the sharing of copyrighted and " +"uncopyrighted content. Thus has there been a vast amount of sharing of " +"copyrighted content. That sharing in turn has excited the war, as copyright " +"owners fear the sharing will \"rob the author of the profit.\"" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"The warriors have turned to the courts, to the legislatures, and " +"increasingly to technology to defend their \"property\" against this " +"\"piracy.\" A generation of Americans, the warriors warn, is being raised to " +"believe that \"property\" should be \"free.\" Forget tattoos, never mind " +"body piercing--our kids are becoming thieves!" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"There's no doubt that \"piracy\" is wrong, and that pirates should be " +"punished. But before we summon the executioners, we should put this notion " +"of \"piracy\" in some context. For as the concept is increasingly used, at " +"its core is an extraordinary idea that is almost certainly wrong." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "The idea goes something like this:" +msgstr "ideen gÃ¥r omtrent slik:" + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"Creative work has value; whenever I use, or take, or build upon the creative " +"work of others, I am taking from them something of value. Whenever I take " +"something of value from someone else, I should have their permission. The " +"taking of something of value from someone else without permission is wrong. " +"It is a form of piracy." +msgstr "" +"skapende arbeid har verdi; NÃ¥r jeg bruker, eller ta eller bygge pÃ¥ kreative " +"arbeidet til andre, tar jeg fra dem noe av verdi. NÃ¥r jeg tar noe av verdi " +"fra noen andre, skulle jeg ha deres tillatelse. Ã¥ ta av noe av verdi fra " +"noen andre uten tillatelse er galt. Det er en form for piratkopiering." + +#. f2 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in " +"the Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397." +msgstr "" + +#. f3 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" " +"Wall Street Journal, 21 August 1996, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #3</ulink>; Jonathan Zittrain, \"Calling Off the " +"Copyright War: In Battle of Property vs. Free Speech, No One Wins,\" Boston " +"Globe, 24 November 2002." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"This view runs deep within the current debates. It is what NYU law professor " +"Rochelle Dreyfuss criticizes as the \"if value, then right\" theory of " +"creative property<placeholder type=\"footnote\" id=\"0\"/> --if there is " +"value, then someone must have a right to that value. It is the perspective " +"that led a composers' rights organization, ASCAP, to sue the Girl Scouts for " +"failing to pay for the songs that girls sang around Girl Scout campfires." +"<placeholder type=\"footnote\" id=\"1\"/> There was \"value\" (the songs) so " +"there must have been a \"right\"--even against the Girl Scouts." +msgstr "" + +#. PAGE BREAK 32 +#. type: Content of: <book><chapter><para> +msgid "" +"This idea is certainly a possible understanding of how creative property " +"should work. It might well be a possible design for a system of law " +"protecting creative property. But the \"if value, then right\" theory of " +"creative property has never been America's theory of creative property. It " +"has never taken hold within our law." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Instead, in our tradition, intellectual property is an instrument. It sets " +"the groundwork for a richly creative society but remains subservient to the " +"value of creativity. The current debate has this turned around. We have " +"become so concerned with protecting the instrument that we are losing sight " +"of the value." +msgstr "" +"i stedet i vÃ¥r tradisjon er immaterielle et instrument. det angir " +"grunnarbeidet for et rikt kreativt samfunn, men er fortsatt servil til " +"verdien av kreativitet. dagens debatt har dette slÃ¥tt rundt. Vi har blitt sÃ¥ " +"opptatt av Ã¥ beskytte instrumentet at vi mister synet av verdien." + +#. type: Content of: <book><chapter><para> +msgid "" +"The source of this confusion is a distinction that the law no longer takes " +"care to draw--the distinction between republishing someone's work on the one " +"hand and building upon or transforming that work on the other. Copyright law " +"at its birth had only publishing as its concern; copyright law today " +"regulates both." +msgstr "" +"kilden til denne forvirring er en utmerkelse som loven ikke lenger tar seg " +"til Ã¥ tegne--skillet mellom republishing noens arbeid pÃ¥ den ene siden og " +"bygge pÃ¥ eller transformere som fungerer pÃ¥ den andre. lov om opphavsrett pÃ¥ " +"sin fødsel hadde bare publisering som sin bekymring; lov om opphavsrett " +"regulerer i dag begge." + +#. type: Content of: <book><chapter><para> +msgid "" +"Before the technologies of the Internet, this conflation didn't matter all " +"that much. The technologies of publishing were expensive; that meant the " +"vast majority of publishing was commercial. Commercial entities could bear " +"the burden of the law--even the burden of the Byzantine complexity that " +"copyright law has become. It was just one more expense of doing business." +msgstr "" +"før teknologien av Internett, gjorde ikke denne conflation saken alle sÃ¥ " +"mye. teknologier i publisering var dyrt; Det betydde at det store flertallet " +"av publisering ble kommersielt. kommersielle selskaper kunne bære byrden av " +"loven--selv byrden av den bysantinske kompleksiteten som copyright lov har " +"blitt. Det var bare en mer utgifter ved Ã¥ gjøre forretninger." + +#. f4 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"In The Rise of the Creative Class (New York: Basic Books, 2002), Richard " +"Florida documents a shift in the nature of labor toward a labor of " +"creativity. His work, however, doesn't directly address the legal " +"conditions under which that creativity is enabled or stifled. I certainly " +"agree with him about the importance and significance of this change, but I " +"also believe the conditions under which it will be enabled are much more " +"tenuous." +msgstr "" +"i rise of creative klassen (new york: grunnleggende bøker, 2002), richard " +"florida dokumenter et skifte i natur arbeid mot en arbeidskraft av " +"kreativitet. hans arbeid, men adressen ikke direkte de juridiske " +"betingelsene under at kreativiteten er aktivert eller halvkvalt. Jeg er enig " +"med ham om betydningen og betydningen av denne endringen, men jeg tror ogsÃ¥ " +"betingelser som funksjonen vil bli aktivert er mye vanskeligere." + +#. type: Content of: <book><chapter><para> +msgid "" +"But with the birth of the Internet, this natural limit to the reach of the " +"law has disappeared. The law controls not just the creativity of commercial " +"creators but effectively that of anyone. Although that expansion would not " +"matter much if copyright law regulated only \"copying,\" when the law " +"regulates as broadly and obscurely as it does, the extension matters a lot. " +"The burden of this law now vastly outweighs any original benefit--certainly " +"as it affects noncommercial creativity, and increasingly as it affects " +"commercial creativity as well. Thus, as we'll see more clearly in the " +"chapters below, the law's role is less and less to support creativity, and " +"more and more to protect certain industries against competition. Just at the " +"time digital technology could unleash an extraordinary range of commercial " +"and noncommercial creativity, the law burdens this creativity with insanely " +"complex and vague rules and with the threat of obscenely severe penalties. " +"We may be seeing, as Richard Florida writes, the \"Rise of the Creative " +"Class.\"<placeholder type=\"footnote\" id=\"0\"/> Unfortunately, we are also " +"seeing an extraordinary rise of regulation of this creative class." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"These burdens make no sense in our tradition. We should begin by " +"understanding that tradition a bit more and by placing in their proper " +"context the current battles about behavior labeled \"piracy.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER ONE: Creators" +msgstr "Kapittel en: skaperne" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In 1928, a cartoon character was born. An early Mickey Mouse made his debut " +"in May of that year, in a silent flop called Plane Crazy. In November, in " +"New York City's Colony Theater, in the first widely distributed cartoon " +"synchronized with sound, Steamboat Willie brought to life the character that " +"would become Mickey Mouse." +msgstr "" +"en tegneserie tegnet ble født i 1928. en tidlig Mikke Mus debuterte i mai " +"samme Ã¥r, i en stille flop kalt flyet gal. i november, i new york city's " +"colony theater, i de første spredt utover tegneserie synkronisert med lyden, " +"steamboat willie brakt til liv tegnet som skulle bli Mikke Mus." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Synchronized sound had been introduced to film a year earlier in the movie " +"The Jazz Singer. That success led Walt Disney to copy the technique and mix " +"sound with cartoons. No one knew whether it would work or, if it did work, " +"whether it would win an audience. But when Disney ran a test in the summer " +"of 1928, the results were unambiguous. As Disney describes that first " +"experiment," +msgstr "" +"synkroniserte lyd hadde blitt introdusert til film Ã¥ret tidligere i filmen " +"jazz sanger. at suksess ledet walt disney Ã¥ kopiere teknikken og blande lyd " +"med tegneserier. ingen visste om det ville fungere, eller hvis det virket, " +"om det ville vinne et publikum. men nÃ¥r disney kjørte en test sommeren 1928, " +"resultatene var entydig. som disney beskriver det første eksperimentet" + +#. PAGE BREAK 35 +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"A couple of my boys could read music, and one of them could play a mouth " +"organ. We put them in a room where they could not see the screen and " +"arranged to pipe their sound into the room where our wives and friends were " +"going to see the picture." +msgstr "" +"et par av mine gutter kan lese musikk, og en av dem kunne spille en munn " +"orgel. Vi setter dem i et rom der de ikke kunne se skjermen og arrangert til " +"datakanal sine lyd inn i rommet hvor vÃ¥re hustruer og venner var kommer til " +"Ã¥ se bildet." + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"The boys worked from a music and sound-effects score. After several false " +"starts, sound and action got off with the gun. The mouth organist played the " +"tune, the rest of us in the sound department bammed tin pans and blew slide " +"whistles on the beat. The synchronization was pretty close." +msgstr "" +"gutter jobbet fra en musikk og lydeffekter score. etter flere falske starter " +"kom lyd og handling av med pistolen. munn-organisten spilte melodien, resten " +"av oss i lyd avdeling bammed tin pans og blÃ¥ste lysbilde plystre pÃ¥ beat. " +"synkroniseringen var ganske nær." + +#. f1 +#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Leonard Maltin, Of Mice and Magic: A History of American Animated " +#| "Cartoons (New York: Penguin Books, 1987), 34­35." +msgid "" +"Leonard Maltin, Of Mice and Magic: A History of American Animated Cartoons " +"(New York: Penguin Books, 1987), 34­35." +msgstr "" +"Leonard maltin, mus og magic: a history of american animerte-tegneserier " +"(new york: penguin books, 1987), 34­35." + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"The effect on our little audience was nothing less than electric. They " +"responded almost instinctively to this union of sound and motion. I thought " +"they were kidding me. So they put me in the audience and ran the action " +"again. It was terrible, but it was wonderful! And it was something new!" +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Disney's then partner, and one of animation's most extraordinary talents, Ub " +"Iwerks, put it more strongly: \"I have never been so thrilled in my life. " +"Nothing since has ever equaled it.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Disney had created something very new, based upon something relatively new. " +"Synchronized sound brought life to a form of creativity that had rarely--" +"except in Disney's hands--been anything more than filler for other films. " +"Throughout animation's early history, it was Disney's invention that set the " +"standard that others struggled to match. And quite often, Disney's great " +"genius, his spark of creativity, was built upon the work of others." +msgstr "" +"Disney hadde opprettet noe veldig nytt, basert pÃ¥ noe relativt nytt. " +"synkronisert lyd brakt livet til en form av kreativitet som hadde sjelden--" +"unntatt i disney's hender--blitt noe mer enn filler for andre filmer. " +"gjennom animasjons tidlig historien var det disney's oppfinnelse som satte " +"standarden som andre kjempet for Ã¥ matche. og ganske ofte disney's stor " +"geni, hans gnist av kreativitet, ble bygd pÃ¥ arbeidet til andre." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This much is familiar. What you might not know is that 1928 also marks " +"another important transition. In that year, a comic (as opposed to cartoon) " +"genius created his last independently produced silent film. That genius was " +"Buster Keaton. The film was Steamboat Bill, Jr." +msgstr "" +"sÃ¥ er mye kjent. Hva du kanskje ikke vet er at 1928 ogsÃ¥ markerer en annen " +"viktig endring. Dette Ã¥ret produsert en tegneserie (i motsetning til " +"tegneserie) geni opprettet sitt siste uavhengig stumfilm. at geni var buster " +"keaton. filmen var steamboat bill, jr." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Keaton was born into a vaudeville family in 1895. In the era of silent film, " +"he had mastered using broad physical comedy as a way to spark uncontrollable " +"laughter from his audience. Steamboat Bill, Jr. was a classic of this form, " +"famous among film buffs for its incredible stunts. The film was classic " +"Keaton--wildly popular and among the best of its genre." +msgstr "" +"Keaton ble født inn i en vaudeville familie i 1895. i æra av stumfilm, hadde " +"han mestret med bred fysiske komedie som en mÃ¥te Ã¥ gnist lyste latter fra " +"sitt publikum. Steamboat bill, jr. var en klassiker av dette skjemaet, kjent " +"blant film buffs for sin utrolige stunts. filmen var klassisk keaton--vill " +"populær og blant beste i sin sjanger." + +#. f2 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"I am grateful to David Gerstein and his careful history, described at <ulink " +"url=\"http://free-culture.cc/notes/\">link #4</ulink>. According to Dave " +"Smith of the Disney Archives, Disney paid royalties to use the music for " +"five songs in Steamboat Willie: \"Steamboat Bill,\" \"The Simpleton" +"\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry No. " +"1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in the " +"Straw,\" was already in the public domain. Letter from David Smith to Harry " +"Surden, 10 July 2003, on file with author." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Steamboat Bill, Jr. appeared before Disney's cartoon Steamboat Willie. The " +"coincidence of titles is not coincidental. Steamboat Willie is a direct " +"cartoon parody of Steamboat Bill,<placeholder type=\"footnote\" id=\"0\"/> " +"and both are built upon a common song as a source. It is not just from the " +"invention of synchronized sound in The Jazz Singer that we get Steamboat " +"Willie. It is also from Buster Keaton's invention of Steamboat Bill, Jr., " +"itself inspired by the song \"Steamboat Bill,\" that we get Steamboat " +"Willie, and then from Steamboat Willie, Mickey Mouse." +msgstr "" + +#. f3 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"He was also a fan of the public domain. See Chris Sprigman, \"The Mouse that " +"Ate the Public Domain,\" Findlaw, 5 March 2002, at <ulink url=\"http://free-" +"culture.cc/notes/\">link #5</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This \"borrowing\" was nothing unique, either for Disney or for the " +"industry. Disney was always parroting the feature-length mainstream films of " +"his day.<placeholder type=\"footnote\" id=\"0\"/> So did many others. Early " +"cartoons are filled with knockoffs--slight variations on winning themes; " +"retellings of ancient stories. The key to success was the brilliance of the " +"differences. With Disney, it was sound that gave his animation its spark. " +"Later, it was the quality of his work relative to the production-line " +"cartoons with which he competed. Yet these additions were built upon a base " +"that was borrowed. Disney added to the work of others before him, creating " +"something new out of something just barely old." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Sometimes this borrowing was slight. Sometimes it was significant. Think " +"about the fairy tales of the Brothers Grimm. If you're as oblivious as I " +"was, you're likely to think that these tales are happy, sweet stories, " +"appropriate for any child at bedtime. In fact, the Grimm fairy tales are, " +"well, for us, grim. It is a rare and perhaps overly ambitious parent who " +"would dare to read these bloody, moralistic stories to his or her child, at " +"bedtime or anytime." +msgstr "" +"noen ganger var denne lÃ¥n liten. noen ganger var det betydelig. Tenk pÃ¥ " +"eventyr av the Sunday. Hvis du er sÃ¥ oblivious som jeg var, er du " +"sannsynligvis tror at disse fortellingene er glade, søte historier, passer " +"for alle barn ved sengetid. faktisk grimm eventyr er, vel, for oss, dystre. " +"Det er en sjelden og kanskje altfor ambisiøse forelder som ville vÃ¥ge Ã¥ lese " +"disse blodig, moralistiske fortellingene til hans eller hennes barn, ved " +"sengetid eller nÃ¥r som helst." + +#. PAGE BREAK 37 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Disney took these stories and retold them in a way that carried them into a " +"new age. He animated the stories, with both characters and light. Without " +"removing the elements of fear and danger altogether, he made funny what was " +"dark and injected a genuine emotion of compassion where before there was " +"fear. And not just with the work of the Brothers Grimm. Indeed, the catalog " +"of Disney work drawing upon the work of others is astonishing when set " +"together: Snow White (1937), Fantasia (1940), Pinocchio (1940), Dumbo " +"(1941), Bambi (1942), Song of the South (1946), Cinderella (1950), Alice in " +"Wonderland (1951), Robin Hood (1952), Peter Pan (1953), Lady and the Tramp " +"(1955), Mulan (1998), Sleeping Beauty (1959), 101 Dalmatians (1961), The " +"Sword in the Stone (1963), and The Jungle Book (1967)--not to mention a " +"recent example that we should perhaps quickly forget, Treasure Planet " +"(2003). In all of these cases, Disney (or Disney, Inc.) ripped creativity " +"from the culture around him, mixed that creativity with his own " +"extraordinary talent, and then burned that mix into the soul of his culture. " +"Rip, mix, and burn." +msgstr "" +"Disney tok disse historiene og retold dem pÃ¥ en mÃ¥te som førte dem inn i en " +"ny tidsalder. Han animert historiene, med bÃ¥de tegn og lys. uten Ã¥ fjerne " +"elementene i frykt og fare helt, han gjorde morsomt det var mørkt og " +"injisert en ekte følelse av medfølelse der før der var frykt. og ikke bare " +"med et verk av the Sunday. faktisk katalogen disney arbeid tegning pÃ¥ " +"arbeidet til andre er forbløffende nÃ¥r satt sammen: snø hvit (1937), " +"fantasia (1940), pinocchio (1940), dumbo (1941), bambi (1942), sang av Sør " +"(1946), cinderella (1950), alice in wonderland (1951), robin hood (1952), " +"peter pan (1953), lady og Landstrykeren (1955), mulan (1998), Tornerose " +"(1959), 101 dalmatians (1961), sverdet i steinen (1963), og Jungelboken " +"(1967)--ikke Ã¥ nevne en siste eksempel som vi bør kanskje raskt glemme, " +"skatt planeten (2003). i alle disse tilfellene, disney (eller disney, inc.) " +"dratt kreativitet fra kultur rundt ham, blandet at kreativiteten med sin " +"egen ekstraordinære talent, og deretter brent blanding inn i sjelen til sin " +"kultur. rippe blande og brenne." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This is a kind of creativity. It is a creativity that we should remember and " +"celebrate. There are some who would say that there is no creativity except " +"this kind. We don't need to go that far to recognize its importance. We " +"could call this \"Disney creativity,\" though that would be a bit " +"misleading. It is, more precisely, \"Walt Disney creativity\"--a form of " +"expression and genius that builds upon the culture around us and makes it " +"something different." +msgstr "" + +#. f4 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Until 1976, copyright law granted an author the possibility of two terms: an " +"initial term and a renewal term. I have calculated the \"average\" term by " +"determining the weighted average of total registrations for any particular " +"year, and the proportion renewing. Thus, if 100 copyrights are registered in " +"year 1, and only 15 are renewed, and the renewal term is 28 years, then the " +"average term is 32.2 years. For the renewal data and other relevant data, " +"see the Web site associated with this book, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #6</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In 1928, the culture that Disney was free to draw upon was relatively fresh. " +"The public domain in 1928 was not very old and was therefore quite vibrant. " +"The average term of copyright was just around thirty years--for that " +"minority of creative work that was in fact copyrighted.<placeholder type=" +"\"footnote\" id=\"0\"/> That means that for thirty years, on average, the " +"authors or copyright holders of a creative work had an \"exclusive right\" " +"to control certain uses of the work. To use this copyrighted work in limited " +"ways required the permission of the copyright owner." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"At the end of a copyright term, a work passes into the public domain. No " +"permission is then needed to draw upon or use that work. No permission and, " +"hence, no lawyers. The public domain is a \"lawyer-free zone.\" Thus, most " +"of the content from the nineteenth century was free for Disney to use and " +"build upon in 1928. It was free for anyone-- whether connected or not, " +"whether rich or not, whether approved or not--to use and build upon." +msgstr "" + +#. PAGE BREAK 38 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This is the ways things always were--until quite recently. For most of our " +"history, the public domain was just over the horizon. From until 1978, the " +"average copyright term was never more than thirty-two years, meaning that " +"most culture just a generation and a half old was free for anyone to build " +"upon without the permission of anyone else. Today's equivalent would be for " +"creative work from the 1960s and 1970s to now be free for the next Walt " +"Disney to build upon without permission. Yet today, the public domain is " +"presumptive only for content from before the Great Depression." +msgstr "" +"Dette er hvordan ting var alltid--inntil ganske nylig. for de fleste av vÃ¥r " +"historie var public domain litt over horisonten. fra 1978 var " +"gjennomsnittlig opphavsrett begrepet aldri mer enn tretti-to Ã¥r, noe som " +"betyr at de fleste kultur bare generasjon og et halvt gamle var gratis for " +"alle Ã¥ bygge pÃ¥ uten tillatelse fra noen andre. dagens tilsvarende ville " +"være til kreativt arbeid fra 1960- og 1970-tallet til nÃ¥ være gratis for " +"neste walt disney Ã¥ bygge pÃ¥ uten tillatelse. ennÃ¥ i dag, er den offentlige " +"sfæren presumptive bare for innhold fra før den store depresjonen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Of course, Walt Disney had no monopoly on \"Walt Disney creativity.\" Nor " +"does America. The norm of free culture has, until recently, and except " +"within totalitarian nations, been broadly exploited and quite universal." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Consider, for example, a form of creativity that seems strange to many " +"Americans but that is inescapable within Japanese culture: manga, or comics. " +"The Japanese are fanatics about comics. Some 40 percent of publications are " +"comics, and 30 percent of publication revenue derives from comics. They are " +"everywhere in Japanese society, at every magazine stand, carried by a large " +"proportion of commuters on Japan's extraordinary system of public " +"transportation." +msgstr "" +"Tenk deg for eksempel en form av kreativitet som synes underlig for mange " +"amerikanere, men det er uunngÃ¥elig i japansk kultur: manga, eller " +"tegneserier. Japansk er fanatikere om tegneserier. noen 40 prosent av " +"publikasjoner er tegneserier, og 30 prosent av publikasjonen inntekter " +"kommer fra tegneserier. de er overalt i japanske samfunnet, pÃ¥ hver " +"magasinet stÃ¥ bÃ¥ret av en stor andel av pendlere pÃ¥ Japans ekstraordinære " +"systemet av offentlig transport." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Americans tend to look down upon this form of culture. That's an " +"unattractive characteristic of ours. We're likely to misunderstand much " +"about manga, because few of us have ever read anything close to the stories " +"that these \"graphic novels\" tell. For the Japanese, manga cover every " +"aspect of social life. For us, comics are \"men in tights.\" And anyway, " +"it's not as if the New York subways are filled with readers of Joyce or even " +"Hemingway. People of different cultures distract themselves in different " +"ways, the Japanese in this interestingly different way." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But my purpose here is not to understand manga. It is to describe a variant " +"on manga that from a lawyer's perspective is quite odd, but from a Disney " +"perspective is quite familiar." +msgstr "" +"men min hensikt her er ikke Ã¥ forstÃ¥ manga. Det er Ã¥ beskrive en variant pÃ¥ " +"manga som fra en advokat perspektiv er ganske rart, men fra en disney " +"perspektiv er ganske godt kjent." + +#. PAGE BREAK 39 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This is the phenomenon of doujinshi. Doujinshi are also comics, but they are " +"a kind of copycat comic. A rich ethic governs the creation of doujinshi. It " +"is not doujinshi if it is just a copy; the artist must make a contribution " +"to the art he copies, by transforming it either subtly or significantly. A " +"doujinshi comic can thus take a mainstream comic and develop it differently--" +"with a different story line. Or the comic can keep the character in " +"character but change its look slightly. There is no formula for what makes " +"the doujinshi sufficiently \"different.\" But they must be different if they " +"are to be considered true doujinshi. Indeed, there are committees that " +"review doujinshi for inclusion within shows and reject any copycat comic " +"that is merely a copy." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These copycat comics are not a tiny part of the manga market. They are huge. " +"More than 33,000 \"circles\" of creators from across Japan produce these " +"bits of Walt Disney creativity. More than 450,000 Japanese come together " +"twice a year, in the largest public gathering in the country, to exchange " +"and sell them. This market exists in parallel to the mainstream commercial " +"manga market. In some ways, it obviously competes with that market, but " +"there is no sustained effort by those who control the commercial manga " +"market to shut the doujinshi market down. It flourishes, despite the " +"competition and despite the law." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The most puzzling feature of the doujinshi market, for those trained in the " +"law, at least, is that it is allowed to exist at all. Under Japanese " +"copyright law, which in this respect (on paper) mirrors American copyright " +"law, the doujinshi market is an illegal one. Doujinshi are plainly " +"\"derivative works.\" There is no general practice by doujinshi artists of " +"securing the permission of the manga creators. Instead, the practice is " +"simply to take and modify the creations of others, as Walt Disney did with " +"Steamboat Bill, Jr. Under both Japanese and American law, that \"taking\" " +"without the permission of the original copyright owner is illegal. It is an " +"infringement of the original copyright to make a copy or a derivative work " +"without the original copyright owner's permission." +msgstr "" + +#. f5 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"For an excellent history, see Scott McCloud, Reinventing Comics (New York: " +"Perennial, 2000)." +msgstr "" +"Hvis en utmerket historie, kan du se scott mccloud, reinventing tegneserier " +"(new york: staude, 2000)." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet this illegal market exists and indeed flourishes in Japan, and in the " +"view of many, it is precisely because it exists that Japanese manga " +"flourish. As American graphic novelist Judd Winick said to me, \"The early " +"days of comics in America are very much like what's going on in Japan " +"now. . . . American comics were born out of copying each other. . . . That's " +"how [the artists] learn to draw--by going into comic books and not tracing " +"them, but looking at them and copying them\" and building from them." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"American comics now are quite different, Winick explains, in part because of " +"the legal difficulty of adapting comics the way doujinshi are allowed. " +"Speaking of Superman, Winick told me, \"there are these rules and you have " +"to stick to them.\" There are things Superman \"cannot\" do. \"As a creator, " +"it's frustrating having to stick to some parameters which are fifty years " +"old.\"" +msgstr "" + +#. f6 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why " +"All the Comics My Kid Watches Are Japanese Imports?\" Rutgers Law Review 55 " +"(2002): 155, 182. \"[T]here might be a collective economic rationality that " +"would lead manga and anime artists to forgo bringing legal actions for " +"infringement. One hypothesis is that all manga artists may be better off " +"collectively if they set aside their individual self-interest and decide not " +"to press their legal rights. This is essentially a prisoner's dilemma solved." +"\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The norm in Japan mitigates this legal difficulty. Some say it is precisely " +"the benefit accruing to the Japanese manga market that explains the " +"mitigation. Temple University law professor Salil Mehra, for example, " +"hypothesizes that the manga market accepts these technical violations " +"because they spur the manga market to be more wealthy and productive. " +"Everyone would be worse off if doujinshi were banned, so the law does not " +"ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The problem with this story, however, as Mehra plainly acknowledges, is that " +"the mechanism producing this laissez faire response is not clear. It may " +"well be that the market as a whole is better off if doujinshi are permitted " +"rather than banned, but that doesn't explain why individual copyright owners " +"don't sue nonetheless. If the law has no general exception for doujinshi, " +"and indeed in some cases individual manga artists have sued doujinshi " +"artists, why is there not a more general pattern of blocking this \"free " +"taking\" by the doujinshi culture?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I spent four wonderful months in Japan, and I asked this question as often " +"as I could. Perhaps the best account in the end was offered by a friend from " +"a major Japanese law firm. \"We don't have enough lawyers,\" he told me one " +"afternoon. There \"just aren't enough resources to prosecute cases like this." +"\"" +msgstr "" + +#. PAGE BREAK 41 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This is a theme to which we will return: that regulation by law is a " +"function of both the words on the books and the costs of making those words " +"have effect. For now, focus on the obvious question that is begged: Would " +"Japan be better off with more lawyers? Would manga be richer if doujinshi " +"artists were regularly prosecuted? Would the Japanese gain something " +"important if they could end this practice of uncompensated sharing? Does " +"piracy here hurt the victims of the piracy, or does it help them? Would " +"lawyers fighting this piracy help their clients or hurt them? Let's pause " +"for a moment." +msgstr "" +"Dette er et tema som vi kommer tilbake: at regulering av loven er en " +"funksjon av begge ordene pÃ¥ bøker og kostnadene ved Ã¥ gjøre disse ordene har " +"effekt. for nÃ¥, fokusere pÃ¥ det Ã¥penbare spørsmÃ¥let som er ba: ville japan " +"være bedre med mer advokater? ville manga bli rikere Hvis doujinshi artister " +"regelmessig ble rettslig forfulgt? ville den japanske gevinsten noe viktig " +"hvis de kunne avslutte denne praksisen med uncompensated deling? gjør vondt " +"piratkopiering her ofre for piratkopiering, eller betyr det hjelpe dem? vil " +"advokater slÃ¥ss denne sjørøver hjelpe sine kunder eller skade dem? La oss ta " +"en pause for et øyeblikk." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"If you're like I was a decade ago, or like most people are when they first " +"start thinking about these issues, then just about now you should be puzzled " +"about something you hadn't thought through before." +msgstr "" +"Hvis du er som jeg var et tiÃ¥r siden, eller som folk flest er nÃ¥r de først " +"begynne Ã¥ tenke disse problemene, bør sÃ¥ bare om nÃ¥ du være rÃ¥dvill om noe " +"du ikke hadde tenkt gjennom før." + +#. f7 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"The term intellectual property is of relatively recent origin. See Siva " +"Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York University " +"Press, 2001). See also Lawrence Lessig, The Future of Ideas (New York: " +"Random House, 2001), 293 n. 26. The term accurately describes a set of " +"\"property\" rights--copyright, patents, trademark, and trade-secret--but " +"the nature of those rights is very different." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We live in a world that celebrates \"property.\" I am one of those " +"celebrants. I believe in the value of property in general, and I also " +"believe in the value of that weird form of property that lawyers call " +"\"intellectual property.\"<placeholder type=\"footnote\" id=\"0\"/> A large, " +"diverse society cannot survive without property; a large, diverse, and " +"modern society cannot flourish without intellectual property." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But it takes just a second's reflection to realize that there is plenty of " +"value out there that \"property\" doesn't capture. I don't mean \"money " +"can't buy you love,\" but rather, value that is plainly part of a process of " +"production, including commercial as well as noncommercial production. If " +"Disney animators had stolen a set of pencils to draw Steamboat Willie, we'd " +"have no hesitation in condemning that taking as wrong-- even though trivial, " +"even if unnoticed. Yet there was nothing wrong, at least under the law of " +"the day, with Disney's taking from Buster Keaton or from the Brothers Grimm. " +"There was nothing wrong with the taking from Keaton because Disney's use " +"would have been considered \"fair.\" There was nothing wrong with the taking " +"from the Grimms because the Grimms' work was in the public domain." +msgstr "" + +#. PAGE BREAK 42 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Thus, even though the things that Disney took--or more generally, the things " +"taken by anyone exercising Walt Disney creativity--are valuable, our " +"tradition does not treat those takings as wrong. Some things remain free for " +"the taking within a free culture, and that freedom is good." +msgstr "" +"SÃ¥ledes, selv om tingene som disney tok-- eller mer generelt, tingene som er " +"tatt av noen utøve walt disney kreativitet--er verdifull, vÃ¥r tradisjon ikke " +"behandler disse takings som feil. noen ting fortsatt være gratis for Ã¥ ta " +"innenfor en fri kultur, og at frihet er bra." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The same with the doujinshi culture. If a doujinshi artist broke into a " +"publisher's office and ran off with a thousand copies of his latest work--or " +"even one copy--without paying, we'd have no hesitation in saying the artist " +"was wrong. In addition to having trespassed, he would have stolen something " +"of value. The law bans that stealing in whatever form, whether large or " +"small." +msgstr "" +"det samme med doujinshi kultur. Hvis en doujinshi artist brøt inn i en " +"publisher office og kjørte med tusen eksemplarer av hans siste verk-- eller " +"selv en kopi--uten Ã¥ betale, ville vi har ingen nøle i sier kunstneren var " +"galt. i tillegg til Ã¥ ha begÃ¥tt, ville han har stjÃ¥let noe av verdi. lov " +"forbud at stjele i enhver form, enten store eller smÃ¥." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet there is an obvious reluctance, even among Japanese lawyers, to say that " +"the copycat comic artists are \"stealing.\" This form of Walt Disney " +"creativity is seen as fair and right, even if lawyers in particular find it " +"hard to say why." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It's the same with a thousand examples that appear everywhere once you begin " +"to look. Scientists build upon the work of other scientists without asking " +"or paying for the privilege. (\"Excuse me, Professor Einstein, but may I " +"have permission to use your theory of relativity to show that you were wrong " +"about quantum physics?\") Acting companies perform adaptations of the works " +"of Shakespeare without securing permission from anyone. (Does anyone believe " +"Shakespeare would be better spread within our culture if there were a " +"central Shakespeare rights clearinghouse that all productions of Shakespeare " +"must appeal to first?) And Hollywood goes through cycles with a certain kind " +"of movie: five asteroid films in the late 1990s; two volcano disaster films " +"in 1997." +msgstr "" + +#. PAGE BREAK 43 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Creators here and everywhere are always and at all times building upon the " +"creativity that went before and that surrounds them now. That building is " +"always and everywhere at least partially done without permission and without " +"compensating the original creator. No society, free or controlled, has ever " +"demanded that every use be paid for or that permission for Walt Disney " +"creativity must always be sought. Instead, every society has left a certain " +"bit of its culture free for the taking--free societies more fully than " +"unfree, perhaps, but all societies to some degree." +msgstr "" +"skaperne er her og overalt alltid og pÃ¥ alle ganger bygge pÃ¥ kreativitet som " +"gikk før og som omgir dem nÃ¥. at bygningen er alltid og overalt i det minste " +"delvis gjort uten tillatelse, og uten kompenserende den opprinnelige " +"skaperen. Ingen samfunnet, gratis eller kontrollert og har noensinne krevd " +"at hver bruk betales for eller tillatelsen for walt disney kreativitet mÃ¥ " +"alltid bli søkt. i stedet alle samfunn har forlatt en bestemt bit av sin " +"kultur som er gratis for Ã¥ ta--gratis samfunn nærmere enn fri, kanskje, men " +"alle samfunn til en viss grad." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The hard question is therefore not whether a culture is free. All cultures " +"are free to some degree. The hard question instead is \"How free is this " +"culture?\" How much, and how broadly, is the culture free for others to take " +"and build upon? Is that freedom limited to party members? To members of the " +"royal family? To the top ten corporations on the New York Stock Exchange? Or " +"is that freedom spread broadly? To artists generally, whether affiliated " +"with the Met or not? To musicians generally, whether white or not? To " +"filmmakers generally, whether affiliated with a studio or not?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Free cultures are cultures that leave a great deal open for others to build " +"upon; unfree, or permission, cultures leave much less. Ours was a free " +"culture. It is becoming much less so." +msgstr "" +"gratis kulturer er kulturer som lar mye Ã¥pen for andre Ã¥ bygge pÃ¥; Unfree, " +"eller tillatelse, kulturer la mye mindre. vÃ¥re var en fri kultur. det blir " +"mye mindre." + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER TWO: \"Mere Copyists\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In 1839, Louis Daguerre invented the first practical technology for " +"producing what we would call \"photographs.\" Appropriately enough, they " +"were called \"daguerreotypes.\" The process was complicated and expensive, " +"and the field was thus limited to professionals and a few zealous and " +"wealthy amateurs. (There was even an American Daguerre Association that " +"helped regulate the industry, as do all such associations, by keeping " +"competition down so as to keep prices up.)" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet despite high prices, the demand for daguerreotypes was strong. This " +"pushed inventors to find simpler and cheaper ways to make \"automatic " +"pictures.\" William Talbot soon discovered a process for making \"negatives." +"\" But because the negatives were glass, and had to be kept wet, the process " +"still remained expensive and cumbersome. In the 1870s, dry plates were " +"developed, making it easier to separate the taking of a picture from its " +"developing. These were still plates of glass, and thus it was still not a " +"process within reach of most amateurs." +msgstr "" + +#. PAGE BREAK 45 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The technological change that made mass photography possible didn't happen " +"until 1888, and was the creation of a single man. George Eastman, himself an " +"amateur photographer, was frustrated by the technology of photographs made " +"with plates. In a flash of insight (so to speak), Eastman saw that if the " +"film could be made to be flexible, it could be held on a single spindle. " +"That roll could then be sent to a developer, driving the costs of " +"photography down substantially. By lowering the costs, Eastman expected he " +"could dramatically broaden the population of photographers." +msgstr "" +"teknologiske endringen som gjorde det mulig masse fotografering skje ikke " +"før 1888, og var etableringen av en enkelt mann. George eastman, selv en " +"amatør fotograf, var frustrert av fotografier som er laget med plater-" +"teknologi. i en flash av innsikt (sÃ¥ Ã¥ si), sÃ¥ eastman at hvis filmen kan " +"gjøres for Ã¥ være fleksibel, kunne det bli avholdt pÃ¥ en enkelt spindel. at " +"roll kunne deretter sendes til en utvikler, senke kostnadene for " +"fotografering vesentlig. ved Ã¥ senke kostnadene, forventet eastman han kan " +"dramatisk utvide befolkningen av fotografer." + +#. f1 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University " +"Press, 1975), 112." +msgstr "" +"Reese v. jenkins, bilder og enterprise (baltimore: johns hopkins university " +"press, 1975), 112." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Eastman developed flexible, emulsion-coated paper film and placed rolls of " +"it in small, simple cameras: the Kodak. The device was marketed on the basis " +"of its simplicity. \"You press the button and we do the rest.\"<placeholder " +"type=\"footnote\" id=\"0\"/> As he described in The Kodak Primer:" +msgstr "" + +#. f2 +#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para> +msgid "" +"Brian Coe, The Birth of Photography (New York: Taplinger Publishing, 1977), " +"53." +msgstr "" +"Brian coe, fødselen av fotografering (new york: taplinger publiserer, 1977), " +"53." + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"The principle of the Kodak system is the separation of the work that any " +"person whomsoever can do in making a photograph, from the work that only an " +"expert can do. . . . We furnish anybody, man, woman or child, who has " +"sufficient intelligence to point a box straight and press a button, with an " +"instrument which altogether removes from the practice of photography the " +"necessity for exceptional facilities or, in fact, any special knowledge of " +"the art. It can be employed without preliminary study, without a darkroom " +"and without chemicals.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f3 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "Jenkins, 177." +msgstr "Jenkins, 177." + +#. f4 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "Based on a chart in Jenkins, p. 178." +msgstr "basert pÃ¥ et diagram i jenkins, s. 178." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"For $25, anyone could make pictures. The camera came preloaded with film, " +"and when it had been used, the camera was returned to an Eastman factory, " +"where the film was developed. Over time, of course, the cost of the camera " +"and the ease with which it could be used both improved. Roll film thus " +"became the basis for the explosive growth of popular photography. Eastman's " +"camera first went on sale in 1888; one year later, Kodak was printing more " +"than six thousand negatives a day. From 1888 through 1909, while industrial " +"production was rising by 4.7 percent, photographic equipment and material " +"sales increased by percent.<placeholder type=\"footnote\" id=\"0\"/> Eastman " +"Kodak's sales during the same period experienced an average annual increase " +"of over 17 percent.<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. f5 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "Coe, 58." +msgstr "Coe, 58." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The real significance of Eastman's invention, however, was not economic. It " +"was social. Professional photography gave individuals a glimpse of places " +"they would never otherwise see. Amateur photography gave them the ability to " +"record their own lives in a way they had never been able to do before. As " +"author Brian Coe notes, \"For the first time the snapshot album provided the " +"man on the street with a permanent record of his family and its " +"activities. . . . For the first time in history there exists an authentic " +"visual record of the appearance and activities of the common man made " +"without [literary] interpretation or bias.\"<placeholder type=\"footnote\" " +"id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In this way, the Kodak camera and film were technologies of expression. The " +"pencil or paintbrush was also a technology of expression, of course. But it " +"took years of training before they could be deployed by amateurs in any " +"useful or effective way. With the Kodak, expression was possible much sooner " +"and more simply. The barrier to expression was lowered. Snobs would sneer at " +"its \"quality\"; professionals would discount it as irrelevant. But watch a " +"child study how best to frame a picture and you get a sense of the " +"experience of creativity that the Kodak enabled. Democratic tools gave " +"ordinary people a way to express themselves more easily than any tools could " +"have before." +msgstr "" + +#. f6 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"For illustrative cases, see, for example, Pavesich v. N.E. Life Ins. Co., 50 " +"S.E." +msgstr "" +"for illustrerende tilfeller, se, for eksempel pavesich v. ne livet ins. co, " +"50 se" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"What was required for this technology to flourish? Obviously, Eastman's " +"genius was an important part. But also important was the legal environment " +"within which Eastman's invention grew. For early in the history of " +"photography, there was a series of judicial decisions that could well have " +"changed the course of photography substantially. Courts were asked whether " +"the photographer, amateur or professional, required permission before he " +"could capture and print whatever image he wanted. Their answer was no." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 47 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The arguments in favor of requiring permission will sound surprisingly " +"familiar. The photographer was \"taking\" something from the person or " +"building whose photograph he shot--pirating something of value. Some even " +"thought he was taking the target's soul. Just as Disney was not free to take " +"the pencils that his animators used to draw Mickey, so, too, should these " +"photographers not be free to take images that they thought valuable." +msgstr "" + +#. f7 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" Harvard " +"Law Review 4 (1890): 193." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"On the other side was an argument that should be familiar, as well. Sure, " +"there may be something of value being used. But citizens should have the " +"right to capture at least those images that stand in public view. (Louis " +"Brandeis, who would become a Supreme Court Justice, thought the rule should " +"be different for images from private spaces.<placeholder type=\"footnote\" " +"id=\"0\"/>) It may be that this means that the photographer gets something " +"for nothing. Just as Disney could take inspiration from Steamboat Bill, Jr. " +"or the Brothers Grimm, the photographer should be free to capture an image " +"without compensating the source." +msgstr "" + +#. f8 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Melville B. Nimmer, \\\"The Right of Publicity,\\\" Law and " +#| "Contemporary Problems 19 (1954): 203; William L. Prosser, \\\"Privacy,\\" +#| "\" California Law Review 48 (1960) 398­407; White v. Samsung Electronics " +#| "America, Inc., 971 F. 2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. " +#| "951 (1993)." +msgid "" +"See Melville B. Nimmer, \"The Right of Publicity,\" Law and Contemporary " +"Problems 19 (1954): 203; William L. Prosser, \"Privacy,\" California Law " +"Review 48 (1960) 398­407; White v. Samsung Electronics America, Inc., 971 F. " +"2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)." +msgstr "" +"se melville b. nimmer, \\\"rett publisitet,\\\" lov og moderne problemer 19 " +"(1954): 203; William l. prosser, \\\"personvern\\\", california lov gÃ¥ " +"gjennom 48 (1960) 398­407; hvite v. samsung electronics america, inc., 971 f. " +"2D 1395 (9 cir. 1992), cert. nektet, 508 amerikansk 951 (1993)." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Fortunately for Mr. Eastman, and for photography in general, these early " +"decisions went in favor of the pirates. In general, no permission would be " +"required before an image could be captured and shared with others. Instead, " +"permission was presumed. Freedom was the default. (The law would eventually " +"craft an exception for famous people: commercial photographers who snap " +"pictures of famous people for commercial purposes have more restrictions " +"than the rest of us. But in the ordinary case, the image can be captured " +"without clearing the rights to do the capturing.<placeholder type=\"footnote" +"\" id=\"0\"/>)" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We can only speculate about how photography would have developed had the law " +"gone the other way. If the presumption had been against the photographer, " +"then the photographer would have had to demonstrate permission. Perhaps " +"Eastman Kodak would have had to demonstrate permission, too, before it " +"developed the film upon which images were captured. After all, if permission " +"were not granted, then Eastman Kodak would be benefiting from the \"theft\" " +"committed by the photographer. Just as Napster benefited from the copyright " +"infringements committed by Napster users, Kodak would be benefiting from the " +"\"image-right\" infringement of its photographers. We could imagine the law " +"then requiring that some form of permission be demonstrated before a company " +"developed pictures. We could imagine a system developing to demonstrate that " +"permission." +msgstr "" + +#. PAGE BREAK 48 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But though we could imagine this system of permission, it would be very hard " +"to see how photography could have flourished as it did if the requirement " +"for permission had been built into the rules that govern it. Photography " +"would have existed. It would have grown in importance over time. " +"Professionals would have continued to use the technology as they did--since " +"professionals could have more easily borne the burdens of the permission " +"system. But the spread of photography to ordinary people would not have " +"occurred. Nothing like that growth would have been realized. And certainly, " +"nothing like that growth in a democratic technology of expression would have " +"been realized. If you drive through San Francisco's Presidio, you might see " +"two gaudy yellow school buses painted over with colorful and striking " +"images, and the logo \"Just Think!\" in place of the name of a school. But " +"there's little that's \"just\" cerebral in the projects that these busses " +"enable. These buses are filled with technologies that teach kids to tinker " +"with film. Not the film of Eastman. Not even the film of your VCR. Rather " +"the \"film\" of digital cameras. Just Think! is a project that enables kids " +"to make films, as a way to understand and critique the filmed culture that " +"they find all around them. Each year, these busses travel to more than " +"thirty schools and enable three hundred to five hundred children to learn " +"something about media by doing something with media. By doing, they think. " +"By tinkering, they learn." +msgstr "" + +#. f9 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"H. Edward Goldberg, \"Essential Presentation Tools: Hardware and Software " +"You Need to Create Digital Multimedia Presentations,\" cadalyst, February " +"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #7</" +"ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These buses are not cheap, but the technology they carry is increasingly so. " +"The cost of a high-quality digital video system has fallen dramatically. As " +"one analyst puts it, \"Five years ago, a good real-time digital video " +"editing system cost $25,000. Today you can get professional quality for $595." +"\"<placeholder type=\"footnote\" id=\"0\"/> These buses are filled with " +"technology that would have cost hundreds of thousands just ten years ago. " +"And it is now feasible to imagine not just buses like this, but classrooms " +"across the country where kids are learning more and more of something " +"teachers call \"media literacy.\"" +msgstr "" + +#. PAGE BREAK 49 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Media literacy,\" as Dave Yanofsky, the executive director of Just Think!, " +"puts it, \"is the ability . . . to understand, analyze, and deconstruct " +"media images. Its aim is to make [kids] literate about the way media works, " +"the way it's constructed, the way it's delivered, and the way people access " +"it.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This may seem like an odd way to think about \"literacy.\" For most people, " +"literacy is about reading and writing. Faulkner and Hemingway and noticing " +"split infinitives are the things that \"literate\" people know about." +msgstr "" + +#. f10 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Judith Van Evra, Television and Child Development (Hillsdale, N.J.: Lawrence " +"Erlbaum Associates, 1990); \"Findings on Family and TV Study,\" Denver Post, " +"25 May 1997, B6." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Maybe. But in a world where children see on average 390 hours of television " +"commercials per year, or between 20,000 and 45,000 commercials generally," +"<placeholder type=\"footnote\" id=\"0\"/> it is increasingly important to " +"understand the \"grammar\" of media. For just as there is a grammar for the " +"written word, so, too, is there one for media. And just as kids learn how to " +"write by writing lots of terrible prose, kids learn how to write media by " +"constructing lots of (at least at first) terrible media." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"A growing field of academics and activists sees this form of literacy as " +"crucial to the next generation of culture. For though anyone who has written " +"understands how difficult writing is--how difficult it is to sequence the " +"story, to keep a reader's attention, to craft language to be understandable--" +"few of us have any real sense of how difficult media is. Or more " +"fundamentally, few of us have a sense of how media works, how it holds an " +"audience or leads it through a story, how it triggers emotion or builds " +"suspense." +msgstr "" +"et voksende felt av akademikere og aktivister ser denne formen for " +"leseferdighet som avgjørende for den neste generasjonen av kultur. for om " +"noen som har skrevet forstÃ¥r hvor vanskelig skriving er--hvor vanskelig det " +"er Ã¥ sekvens historien, Ã¥ holde leserens oppmerksomhet, hÃ¥ndverket sprÃ¥k Ã¥ " +"være forstÃ¥elig--fÃ¥ av oss har en reell følelse av hvor vanskelig media er. " +"eller mer fundamentalt, fÃ¥ av oss har en følelse av hvordan media fungerer, " +"hvordan det holder et publikum eller fører det gjennom en artikkel, hvordan " +"det utløser følelser eller bygger spenning." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It took filmmaking a generation before it could do these things well. But " +"even then, the knowledge was in the filming, not in writing about the film. " +"The skill came from experiencing the making of a film, not from reading a " +"book about it. One learns to write by writing and then reflecting upon what " +"one has written. One learns to write with images by making them and then " +"reflecting upon what one has created." +msgstr "" +"Det tok filmskapning en generasjon før det kunne gjøre disse tingene godt. " +"men selv da kunnskap var av filming, ikke skriftlig om filmen. ferdigheten " +"kom fra opplever inngÃ¥else av en film, ikke fra Ã¥ lese en bok om den. en " +"lærer Ã¥ skrive ved Ã¥ skrive og deretter gjenspeiler pÃ¥ hva man har skrevet. " +"en lærer Ã¥ skrive med bilder ved Ã¥ gjøre dem og deretter reflektere over hva " +"man har opprettet." + +#. f11 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002." +msgstr "Intervju med elizabeth daley og stephanie barish, 13 desember 2002." + +#. f12 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"See Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4 November " +"2000, available at <ulink url=\"http://free-culture.cc/notes/\">link #8</" +"ulink>; \"Timeline,\" 22 November 2000, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #9</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This grammar has changed as media has changed. When it was just film, as " +"Elizabeth Daley, executive director of the University of Southern " +"California's Annenberg Center for Communication and dean of the USC School " +"of Cinema-Television, explained to me, the grammar was about \"the placement " +"of objects, color, . . . rhythm, pacing, and texture.\"<placeholder type=" +"\"footnote\" id=\"0\"/> But as computers open up an interactive space where " +"a story is \"played\" as well as experienced, that grammar changes. The " +"simple control of narrative is lost, and so other techniques are necessary. " +"Author Michael Crichton had mastered the narrative of science fiction. But " +"when he tried to design a computer game based on one of his works, it was a " +"new craft he had to learn. How to lead people through a game without their " +"feeling they have been led was not obvious, even to a wildly successful " +"author.<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This skill is precisely the craft a filmmaker learns. As Daley describes, " +"\"people are very surprised about how they are led through a film. [I]t is " +"perfectly constructed to keep you from seeing it, so you have no idea. If a " +"filmmaker succeeds you do not know how you were led.\" If you know you were " +"led through a film, the film has failed." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet the push for an expanded literacy--one that goes beyond text to include " +"audio and visual elements--is not about making better film directors. The " +"aim is not to improve the profession of filmmaking at all. Instead, as " +"Daley explained," +msgstr "" +"men Skyv for en utvidet leseferdighet--en som gÃ¥r utover tekst til Ã¥ " +"inkludere lyd og visuelle elementer--ikke handler om Ã¥ gjøre bedre film " +"styremedlemmer. MÃ¥let er ikke Ã¥ forbedre yrket i filmskapning overhodet. i " +"stedet, som daley forklart," + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"From my perspective, probably the most important digital divide is not " +"access to a box. It's the ability to be empowered with the language that " +"that box works in. Otherwise only a very few people can write with this " +"language, and all the rest of us are reduced to being read-only." +msgstr "" +"fra mitt perspektiv er sannsynligvis den viktigste digital dividere ikke " +"tilgang til en boks. Det er muligheten til Ã¥ fÃ¥ flere muligheter med sprÃ¥ket " +"at boksen fungerer i. ellers bare en svært fÃ¥ mennesker kan skrive med dette " +"sprÃ¥ket, og resten av oss er redusert til Ã¥ være skrivebeskyttet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Read-only.\" Passive recipients of culture produced elsewhere. Couch " +"potatoes. Consumers. This is the world of media from the twentieth century." +msgstr "" + +#. f13 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "Interview with Daley and Barish." +msgstr "Intervju med daley og barish." + +#. f31 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "Ibid." +msgstr "ibid." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The twenty-first century could be different. This is the crucial point: It " +"could be both read and write. Or at least reading and better understanding " +"the craft of writing. Or best, reading and understanding the tools that " +"enable the writing to lead or mislead. The aim of any literacy, and this " +"literacy in particular, is to \"empower people to choose the appropriate " +"language for what they need to create or express.\"<placeholder type=" +"\"footnote\" id=\"0\"/> It is to enable students \"to communicate in the " +"language of the twenty-first century.\"<placeholder type=\"footnote\" id=" +"\"1\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As with any language, this language comes more easily to some than to " +"others. It doesn't necessarily come more easily to those who excel in " +"written language. Daley and Stephanie Barish, director of the Institute for " +"Multimedia Literacy at the Annenberg Center, describe one particularly " +"poignant example of a project they ran in a high school. The high school " +"was a very poor inner-city Los Angeles school. In all the traditional " +"measures of success, this school was a failure. But Daley and Barish ran a " +"program that gave kids an opportunity to use film to express meaning about " +"something the students know something about--gun violence." +msgstr "" +"som med alle sprÃ¥k, kommer dette sprÃ¥ket lettere til noen enn for andre. det " +"kommer ikke nødvendigvis mer lett til de som excel i skriftlig sprÃ¥k. Daley " +"og stephanie barish, direktør for Institutt for multimedia leseferdighet pÃ¥ " +"arbeidet center, Beskriv et spesielt intens eksempel pÃ¥ et prosjekt de " +"kjørte pÃ¥ en high school. high school var en svært dÃ¥rlig indre-city los " +"angeles skole. i alle de tradisjonelle mÃ¥l for suksess var denne skolen en " +"fiasko. men daley og barish kjørte et program som ga barn en mulighet til Ã¥ " +"bruke filmen til Ã¥ uttrykke mening om noe elevene vet noe om--pistol vold." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The class was held on Friday afternoons, and it created a relatively new " +"problem for the school. While the challenge in most classes was getting the " +"kids to come, the challenge in this class was keeping them away. The \"kids " +"were showing up at 6 A.M. and leaving at 5 at night,\" said Barish. They " +"were working harder than in any other class to do what education should be " +"about--learning how to express themselves." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Using whatever \"free web stuff they could find,\" and relatively simple " +"tools to enable the kids to mix \"image, sound, and text,\" Barish said this " +"class produced a series of projects that showed something about gun violence " +"that few would otherwise understand. This was an issue close to the lives of " +"these students. The project \"gave them a tool and empowered them to be able " +"to both understand it and talk about it,\" Barish explained. That tool " +"succeeded in creating expression--far more successfully and powerfully than " +"could have been created using only text. \"If you had said to these " +"students, `you have to do it in text,' they would've just thrown their hands " +"up and gone and done something else,\" Barish described, in part, no doubt, " +"because expressing themselves in text is not something these students can do " +"well. Yet neither is text a form in which these ideas can be expressed well. " +"The power of this message depended upon its connection to this form of " +"expression." +msgstr "" + +#. PAGE BREAK 52 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"But isn't education about teaching kids to write?\" I asked. In part, of " +"course, it is. But why are we teaching kids to write? Education, Daley " +"explained, is about giving students a way of \"constructing meaning.\" To " +"say that that means just writing is like saying teaching writing is only " +"about teaching kids how to spell. Text is one part--and increasingly, not " +"the most powerful part--of constructing meaning. As Daley explained in the " +"most moving part of our interview," +msgstr "" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"What you want is to give these students ways of constructing meaning. If all " +"you give them is text, they're not going to do it. Because they can't. You " +"know, you've got Johnny who can look at a video, he can play a video game, " +"he can do graffiti all over your walls, he can take your car apart, and he " +"can do all sorts of other things. He just can't read your text. So Johnny " +"comes to school and you say, \"Johnny, you're illiterate. Nothing you can do " +"matters.\" Well, Johnny then has two choices: He can dismiss you or he [can] " +"dismiss himself. If his ego is healthy at all, he's going to dismiss you. " +"[But i]nstead, if you say, \"Well, with all these things that you can do, " +"let's talk about this issue. Play for me music that you think reflects that, " +"or show me images that you think reflect that, or draw for me something that " +"reflects that.\" Not by giving a kid a video camera and . . . saying, " +"\"Let's go have fun with the video camera and make a little movie.\" But " +"instead, really help you take these elements that you understand, that are " +"your language, and construct meaning about the topic. . . ." +msgstr "" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"That empowers enormously. And then what happens, of course, is eventually, " +"as it has happened in all these classes, they bump up against the fact, \"I " +"need to explain this and I really need to write something.\" And as one of " +"the teachers told Stephanie, they would rewrite a paragraph 5, 6, 7, 8 " +"times, till they got it right." +msgstr "" + +#. PAGE BREAK 53 +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"Because they needed to. There was a reason for doing it. They needed to say " +"something, as opposed to just jumping through your hoops. They actually " +"needed to use a language that they didn't speak very well. But they had come " +"to understand that they had a lot of power with this language.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When two planes crashed into the World Trade Center, another into the " +"Pentagon, and a fourth into a Pennsylvania field, all media around the world " +"shifted to this news. Every moment of just about every day for that week, " +"and for weeks after, television in particular, and media generally, retold " +"the story of the events we had just witnessed. The telling was a retelling, " +"because we had seen the events that were described. The genius of this awful " +"act of terrorism was that the delayed second attack was perfectly timed to " +"assure that the whole world would be watching." +msgstr "" +"NÃ¥r to fly krasjet inn i world trade center, en annen i pentagon og en " +"fjerde i et felt i pennsylvania, flyttet alle medier rundt om i verden til " +"denne nyheter. hvert øyeblikk av omtrent hver dag for at uken, og for uker " +"etter, TV spesielt og media vanligvis retold historien om hendelsene som vi " +"bare hadde sett. telling var en gjenfortelling, fordi vi hadde sett " +"hendelsene som ble beskrevet. geni av denne forferdelig handling av " +"terrorisme var at forsinkede andre angrepet var perfekt timet for Ã¥ sikre at " +"hele verden ville være Ã¥ se." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These retellings had an increasingly familiar feel. There was music scored " +"for the intermissions, and fancy graphics that flashed across the screen. " +"There was a formula to interviews. There was \"balance,\" and seriousness. " +"This was news choreographed in the way we have increasingly come to expect " +"it, \"news as entertainment,\" even if the entertainment is tragedy." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But in addition to this produced news about the \"tragedy of September 11,\" " +"those of us tied to the Internet came to see a very different production as " +"well. The Internet was filled with accounts of the same events. Yet these " +"Internet accounts had a very different flavor. Some people constructed photo " +"pages that captured images from around the world and presented them as slide " +"shows with text. Some offered open letters. There were sound recordings. " +"There was anger and frustration. There were attempts to provide context. " +"There was, in short, an extraordinary worldwide barn raising, in the sense " +"Mike Godwin uses the term in his book Cyber Rights, around a news event that " +"had captured the attention of the world. There was ABC and CBS, but there " +"was also the Internet." +msgstr "" + +#. PAGE BREAK 54 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I don't mean simply to praise the Internet--though I do think the people who " +"supported this form of speech should be praised. I mean instead to point to " +"a significance in this form of speech. For like a Kodak, the Internet " +"enables people to capture images. And like in a movie by a student on the " +"\"Just Think!\" bus, the visual images could be mixed with sound or text." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But unlike any technology for simply capturing images, the Internet allows " +"these creations to be shared with an extraordinary number of people, " +"practically instantaneously. This is something new in our tradition--not " +"just that culture can be captured mechanically, and obviously not just that " +"events are commented upon critically, but that this mix of captured images, " +"sound, and commentary can be widely spread practically instantaneously." +msgstr "" +"men i motsetning til noen teknologi for bare skjermbilder, Internett kan " +"disse kreasjoner som skal deles med en ekstraordinære antall mennesker, " +"nesten umiddelbart. Dette er noe nytt i vÃ¥r tradisjon--ikke bare som kultur " +"kan fanges mekanisk, og Ã¥penbart ikke bare at hendelser er kommentert " +"kritisk, men at denne blandingen av tatt bilder, lyd, og kommentarer kan " +"være vidt spredt nesten umiddelbart." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"September 11 was not an aberration. It was a beginning. Around the same " +"time, a form of communication that has grown dramatically was just beginning " +"to come into public consciousness: the Web-log, or blog. The blog is a kind " +"of public diary, and within some cultures, such as in Japan, it functions " +"very much like a diary. In those cultures, it records private facts in a " +"public way--it's a kind of electronic Jerry Springer, available anywhere in " +"the world." +msgstr "" +"11 september var ikke en villfarelse. Det var en begynnelse. rundt samme " +"tid, en form for kommunikasjon som har vokst dramatisk var bare begynnelsen " +"framover i offentlig bevissthet: web-loggen, eller bloggen. bloggen er en " +"type offentlig dagbok, og i noen kulturer, slik som i japan, det fungerer " +"veldig mye som en dagbok. i disse kulturer, den registrerer privat fakta i " +"en offentlig mÃ¥te--det er en slags elektronisk jerry springer, tilgjengelig " +"overalt i verden." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But in the United States, blogs have taken on a very different character. " +"There are some who use the space simply to talk about their private life. " +"But there are many who use the space to engage in public discourse. " +"Discussing matters of public import, criticizing others who are mistaken in " +"their views, criticizing politicians about the decisions they make, offering " +"solutions to problems we all see: blogs create the sense of a virtual public " +"meeting, but one in which we don't all hope to be there at the same time and " +"in which conversations are not necessarily linked. The best of the blog " +"entries are relatively short; they point directly to words used by others, " +"criticizing with or adding to them. They are arguably the most important " +"form of unchoreographed public discourse that we have." +msgstr "" +"men i USA, blogger har tatt pÃ¥ en svært forskjellig karakter. Det er noen " +"som bruker omrÃ¥det bare for Ã¥ snakke om deres private liv. men det er mange " +"som du engasjere seg i public discourse. diskutere saker av offentlig " +"import, kritisere andre som er feil i sine synspunkter, kritiserer " +"politikere om beslutninger som de gjør, som tilbyr løsninger pÃ¥ problemer " +"som vi alle ser: blogger skape følelse av et virtuelt offentlige møte, men " +"en i som vi ikke alle hÃ¥per Ã¥ være der pÃ¥ samme tid, og der samtaler ikke " +"nødvendigvis er koblet. best av bloggoppføringene er relativt kort; de peker " +"direkte til ord som brukes av andre, kritiserer med eller legge til i dem. " +"de er uten tvil den viktigste formen for unchoreographed offentlige " +"diskusjon som vi har." + +#. PAGE BREAK 55 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"That's a strong statement. Yet it says as much about our democracy as it " +"does about blogs. This is the part of America that is most difficult for " +"those of us who love America to accept: Our democracy has atrophied. Of " +"course we have elections, and most of the time the courts allow those " +"elections to count. A relatively small number of people vote in those " +"elections. The cycle of these elections has become totally professionalized " +"and routinized. Most of us think this is democracy." +msgstr "" +"Det er en sterk uttalelse. Likevel stÃ¥r det sÃ¥ mye om vÃ¥rt demokrati som det " +"gjør om blogger. Dette er delen av Amerika som er mest vanskelig for de av " +"oss som elsker Amerika for Ã¥ godta: vÃ¥rt demokrati har atrofier. " +"selvfølgelig vi har valg, og mesteparten av tiden domstolene tillate disse " +"valgene til Ã¥ telle. et relativt lite antall folk stemme i disse valgene. " +"syklusen av disse valgene blir helt professionalized og routinized. de " +"fleste av oss tror dette er demokrati." + +#. f15 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"See, for example, Alexis de Tocqueville, Democracy in America, bk. 1, " +"trans. Henry Reeve (New York: Bantam Books, 2000), ch. 16." +msgstr "" +"Se for eksempel alexis de tocqueville, demokrati i Amerika, bk. 1, trans. " +"Henry reeve (new york: bantam books, 2000), ch. 16." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But democracy has never just been about elections. Democracy means rule by " +"the people, but rule means something more than mere elections. In our " +"tradition, it also means control through reasoned discourse. This was the " +"idea that captured the imagination of Alexis de Tocqueville, the nineteenth-" +"century French lawyer who wrote the most important account of early " +"\"Democracy in America.\" It wasn't popular elections that fascinated him--" +"it was the jury, an institution that gave ordinary people the right to " +"choose life or death for other citizens. And most fascinating for him was " +"that the jury didn't just vote about the outcome they would impose. They " +"deliberated. Members argued about the \"right\" result; they tried to " +"persuade each other of the \"right\" result, and in criminal cases at least, " +"they had to agree upon a unanimous result for the process to come to an end." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f16 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of Political " +"Philosophy 10 (2) (2002): 129." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet even this institution flags in American life today. And in its place, " +"there is no systematic effort to enable citizen deliberation. Some are " +"pushing to create just such an institution.<placeholder type=\"footnote\" id=" +"\"0\"/> And in some towns in New England, something close to deliberation " +"remains. But for most of us for most of the time, there is no time or place " +"for \"democratic deliberation\" to occur." +msgstr "" + +#. f17 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Cass Sunstein, Republic.com (Princeton: Princeton University Press, " +#| "2001), 65­80, 175, 182, 183, 192." +msgid "" +"Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001), 65­" +"80, 175, 182, 183, 192." +msgstr "" +"Cass sunstein, republic.com (princeton: princeton university press, 2001), 65­" +"80, 175, 182, 183, 192." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"More bizarrely, there is generally not even permission for it to occur. We, " +"the most powerful democracy in the world, have developed a strong norm " +"against talking about politics. It's fine to talk about politics with people " +"you agree with. But it is rude to argue about politics with people you " +"disagree with. Political discourse becomes isolated, and isolated discourse " +"becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what " +"our friends want to hear, and hear very little beyond what our friends say." +msgstr "" + +#. PAGE BREAK 56 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Enter the blog. The blog's very architecture solves one part of this " +"problem. People post when they want to post, and people read when they want " +"to read. The most difficult time is synchronous time. Technologies that " +"enable asynchronous communication, such as e-mail, increase the opportunity " +"for communication. Blogs allow for public discourse without the public ever " +"needing to gather in a single public place." +msgstr "" +"gÃ¥ inn i bloggen. bloggens svært arkitektur løser en del av dette problemet. " +"folk innlegg nÃ¥r de vil bokføre, og folk lese nÃ¥r de ønsker Ã¥ lese. det mest " +"vanskelig tid er synkron tid. teknologier som gjør asynkron kommunikasjon, " +"for eksempel e-post, øke muligheten for kommunikasjon. blogger tillate " +"public discourse uten publikum noensinne trenger Ã¥ samles i en enkelt " +"offentlig sted." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But beyond architecture, blogs also have solved the problem of norms. " +"There's no norm (yet) in blog space not to talk about politics. Indeed, the " +"space is filled with political speech, on both the right and the left. Some " +"of the most popular sites are conservative or libertarian, but there are " +"many of all political stripes. And even blogs that are not political cover " +"political issues when the occasion merits." +msgstr "" +"Men utover arkitektur, blogger ogsÃ¥ har løst problemet med normer. Det er " +"ingen normen (ennÃ¥) i bloggen plass for ikke Ã¥ snakke om politikk. faktisk, " +"plassen blir fylt med politisk tale, pÃ¥ bÃ¥de høyre og venstre. noen av de " +"mest populære nettstedene er høyre eller tilhenger av frihetsprinsippet, men " +"det er mange av alle politiske striper. og med blogger som ikke er politisk " +"dekker politiske spørsmÃ¥l nÃ¥r anledningen fortjener." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The significance of these blogs is tiny now, though not so tiny. The name " +"Howard Dean may well have faded from the 2004 presidential race but for " +"blogs. Yet even if the number of readers is small, the reading is having an " +"effect." +msgstr "" +"betydningen av disse bloggene er liten nÃ¥, men ikke sÃ¥ smÃ¥. navnet howard " +"dean kan godt har bleknet fra 2004 presidentvalget rase men for blogger. " +"Selv om antall lesere er liten, er ennÃ¥ lesing har en effekt." + +#. f18 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New " +"York Times, 16 January 2003, G5." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"One direct effect is on stories that had a different life cycle in the " +"mainstream media. The Trent Lott affair is an example. When Lott \"misspoke" +"\" at a party for Senator Strom Thurmond, essentially praising Thurmond's " +"segregationist policies, he calculated correctly that this story would " +"disappear from the mainstream press within forty-eight hours. It did. But he " +"didn't calculate its life cycle in blog space. The bloggers kept researching " +"the story. Over time, more and more instances of the same \"misspeaking\" " +"emerged. Finally, the story broke back into the mainstream press. In the " +"end, Lott was forced to resign as senate majority leader.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This different cycle is possible because the same commercial pressures don't " +"exist with blogs as with other ventures. Television and newspapers are " +"commercial entities. They must work to keep attention. If they lose " +"readers, they lose revenue. Like sharks, they must move on." +msgstr "" +"Denne forskjellige syklusen er mulig fordi de samme kommersielt press ikke " +"finnes med blogger som med andre ventures. TV og aviser er kommersielle " +"selskaper. de mÃ¥ arbeide for Ã¥ holde oppmerksomheten. Hvis de mister lesere, " +"mister de inntekt. som haier, mÃ¥ de flytte." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But bloggers don't have a similar constraint. They can obsess, they can " +"focus, they can get serious. If a particular blogger writes a particularly " +"interesting story, more and more people link to that story. And as the " +"number of links to a particular story increases, it rises in the ranks of " +"stories. People read what is popular; what is popular has been selected by a " +"very democratic process of peer-generated rankings." +msgstr "" +"men bloggere har ikke en lignende begrensning. de kan plage, de kan " +"fokusere, de kan fÃ¥ alvorlige. Hvis en bestemt blogger skriver en spesielt " +"interessant historie, koble flere og flere mennesker til denne historien. og " +"som øker antall koblinger i en bestemt artikkel, sitt utspring i rekkene av " +"historier. folk lese hva som er populært; Hva er populære har blitt valgt av " +"en veldig demokratisk prosess med node-generert rangeringer." + +#. PAGE BREAK 57 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"There's a second way, as well, in which blogs have a different cycle from " +"the mainstream press. As Dave Winer, one of the fathers of this movement and " +"a software author for many decades, told me, another difference is the " +"absence of a financial \"conflict of interest.\" \"I think you have to take " +"the conflict of interest\" out of journalism, Winer told me. \"An amateur " +"journalist simply doesn't have a conflict of interest, or the conflict of " +"interest is so easily disclosed that you know you can sort of get it out of " +"the way.\"" +msgstr "" + +#. f19 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "Telephone interview with David Winer, 16 April 2003." +msgstr "telefon intervju med david vin, 16 april 2003." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These conflicts become more important as media becomes more concentrated " +"(more on this below). A concentrated media can hide more from the public " +"than an unconcentrated media can--as CNN admitted it did after the Iraq war " +"because it was afraid of the consequences to its own employees.<placeholder " +"type=\"footnote\" id=\"0\"/> It also needs to sustain a more coherent " +"account. (In the middle of the Iraq war, I read a post on the Internet from " +"someone who was at that time listening to a satellite uplink with a reporter " +"in Iraq. The New York headquarters was telling the reporter over and over " +"that her account of the war was too bleak: She needed to offer a more " +"optimistic story. When she told New York that wasn't warranted, they told " +"her that they were writing \"the story.\")" +msgstr "" + +#. f20 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information " +"Online,\" New York Times, 2 February 2003, A28; Staci D. Kramer, \"Shuttle " +"Disaster Coverage Mixed, but Strong Overall,\" Online Journalism Review, 2 " +"February 2003, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #10</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Blog space gives amateurs a way to enter the debate--\"amateur\" not in the " +"sense of inexperienced, but in the sense of an Olympic athlete, meaning not " +"paid by anyone to give their reports. It allows for a much broader range of " +"input into a story, as reporting on the Columbia disaster revealed, when " +"hundreds from across the southwest United States turned to the Internet to " +"retell what they had seen.<placeholder type=\"footnote\" id=\"0\"/> And it " +"drives readers to read across the range of accounts and \"triangulate,\" as " +"Winer puts it, the truth. Blogs, Winer says, are \"communicating directly " +"with our constituency, and the middle man is out of it\"--with all the " +"benefits, and costs, that might entail." +msgstr "" + +#. f21 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" New York " +"Times, 29 September 2003, C4. (\"Not all news organizations have been as " +"accepting of employees who blog. Kevin Sites, a CNN correspondent in Iraq " +"who started a blog about his reporting of the war on March 9, stopped " +"posting 12 days later at his bosses' request. Last year Steve Olafson, a " +"Houston Chronicle reporter, was fired for keeping a personal Web log, " +"published under a pseudonym, that dealt with some of the issues and people " +"he was covering.\")" +msgstr "" + +#. PAGE BREAK 58 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Winer is optimistic about the future of journalism infected with blogs. " +"\"It's going to become an essential skill,\" Winer predicts, for public " +"figures and increasingly for private figures as well. It's not clear that " +"\"journalism\" is happy about this--some journalists have been told to " +"curtail their blogging.<placeholder type=\"footnote\" id=\"0\"/> But it is " +"clear that we are still in transition. \"A lot of what we are doing now is " +"warm-up exercises,\" Winer told me. There is a lot that must mature before " +"this space has its mature effect. And as the inclusion of content in this " +"space is the least infringing use of the Internet (meaning infringing on " +"copyright), Winer said, \"we will be the last thing that gets shut down.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This speech affects democracy. Winer thinks that happens because \"you don't " +"have to work for somebody who controls, [for] a gatekeeper.\" That is true. " +"But it affects democracy in another way as well. As more and more citizens " +"express what they think, and defend it in writing, that will change the way " +"people understand public issues. It is easy to be wrong and misguided in " +"your head. It is harder when the product of your mind can be criticized by " +"others. Of course, it is a rare human who admits that he has been persuaded " +"that he is wrong. But it is even rarer for a human to ignore when he has " +"been proven wrong. The writing of ideas, arguments, and criticism improves " +"democracy. Today there are probably a couple of million blogs where such " +"writing happens. When there are ten million, there will be something " +"extraordinary to report." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"John Seely Brown is the chief scientist of the Xerox Corporation. His work, " +"as his Web site describes it, is \"human learning and . . . the creation of " +"knowledge ecologies for creating . . . innovation.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Brown thus looks at these technologies of digital creativity a bit " +"differently from the perspectives I've sketched so far. I'm sure he would be " +"excited about any technology that might improve democracy. But his real " +"excitement comes from how these technologies affect learning." +msgstr "" +"brun dermed ser pÃ¥ disse teknologiene av digitale kreativitet litt " +"annerledes fra perspektiver jeg har skisserte sÃ¥ langt. Jeg er sikker pÃ¥ at " +"han ville bli begeistret for enhver teknologi som kan forbedre demokrati. " +"men hans hÃ¥v kommer fra hvordan disse teknologiene berører læring." + +#. PAGE BREAK 59 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As Brown believes, we learn by tinkering. When \"a lot of us grew up,\" he " +"explains, that tinkering was done \"on motorcycle engines, lawnmower " +"engines, automobiles, radios, and so on.\" But digital technologies enable a " +"different kind of tinkering--with abstract ideas though in concrete form. " +"The kids at Just Think! not only think about how a commercial portrays a " +"politician; using digital technology, they can take the commercial apart and " +"manipulate it, tinker with it to see how it does what it does. Digital " +"technologies launch a kind of bricolage, or \"free collage,\" as Brown calls " +"it. Many get to add to or transform the tinkering of many others." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The best large-scale example of this kind of tinkering so far is free " +"software or open-source software (FS/OSS). FS/OSS is software whose source " +"code is shared. Anyone can download the technology that makes a FS/OSS " +"program run. And anyone eager to learn how a particular bit of FS/OSS " +"technology works can tinker with the code." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This opportunity creates a \"completely new kind of learning platform,\" as " +"Brown describes. \"As soon as you start doing that, you . . . unleash a " +"free collage on the community, so that other people can start looking at " +"your code, tinkering with it, trying it out, seeing if they can improve it." +"\" Each effort is a kind of apprenticeship. \"Open source becomes a major " +"apprenticeship platform.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In this process, \"the concrete things you tinker with are abstract. They " +"are code.\" Kids are \"shifting to the ability to tinker in the abstract, " +"and this tinkering is no longer an isolated activity that you're doing in " +"your garage. You are tinkering with a community platform. . . . You are " +"tinkering with other people's stuff. The more you tinker the more you " +"improve.\" The more you improve, the more you learn." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This same thing happens with content, too. And it happens in the same " +"collaborative way when that content is part of the Web. As Brown puts it, " +"\"the Web [is] the first medium that truly honors multiple forms of " +"intelligence.\" Earlier technologies, such as the typewriter or word " +"processors, helped amplify text. But the Web amplifies much more than text. " +"\"The Web . . . says if you are musical, if you are artistic, if you are " +"visual, if you are interested in film . . . [then] there is a lot you can " +"start to do on this medium. [It] can now amplify and honor these multiple " +"forms of intelligence.\"" +msgstr "" + +#. PAGE BREAK 60 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just " +"Think! teach: that this tinkering with culture teaches as well as creates. " +"It develops talents differently, and it builds a different kind of " +"recognition." +msgstr "" +"Brown snakker om hva elizabeth daley, stephanie barish og tror bare! lære: " +"som fiksing og denne triksing med kultur lærer samt oppretter. det utvikler " +"talenter annerledes, og det bygger en annen type gjenkjenning." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet the freedom to tinker with these objects is not guaranteed. Indeed, as " +"we'll see through the course of this book, that freedom is increasingly " +"highly contested. While there's no doubt that your father had the right to " +"tinker with the car engine, there's great doubt that your child will have " +"the right to tinker with the images she finds all around. The law and, " +"increasingly, technology interfere with a freedom that technology, and " +"curiosity, would otherwise ensure." +msgstr "" +"frihet til Ã¥ tinker med disse objektene er ennÃ¥ ikke garantert. som vi ser " +"gjennom i løpet av denne boken, er faktisk at freedom stadig svært omstridt. " +"mens det er ingen tvil om at din far hadde rett til Ã¥ tinker med motor, er " +"det stor tvil om at barnet ditt vil ha rett til Ã¥ tinker med bilder hun " +"finner rundt. lov og, i økende grad teknologi forstyrre en frihet som " +"teknologi, og nysgjerrighet, ellers ville sikre." + +#. f22 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"See, for example, Edward Felten and Andrew Appel, \"Technological Access " +"Control Interferes with Noninfringing Scholarship,\" Communications of the " +"Association for Computer Machinery 43 (2000): 9." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These restrictions have become the focus of researchers and scholars. " +"Professor Ed Felten of Princeton (whom we'll see more of in chapter 10) has " +"developed a powerful argument in favor of the \"right to tinker\" as it " +"applies to computer science and to knowledge in general.<placeholder type=" +"\"footnote\" id=\"0\"/> But Brown's concern is earlier, or younger, or more " +"fundamental. It is about the learning that kids can do, or can't do, because " +"of the law." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"This is where education in the twenty-first century is going,\" Brown " +"explains. We need to \"understand how kids who grow up digital think and " +"want to learn.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Yet,\" as Brown continued, and as the balance of this book will evince, " +"\"we are building a legal system that completely suppresses the natural " +"tendencies of today's digital kids. . . . We're building an architecture " +"that unleashes 60 percent of the brain [and] a legal system that closes down " +"that part of the brain.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We're building a technology that takes the magic of Kodak, mixes moving " +"images and sound, and adds a space for commentary and an opportunity to " +"spread that creativity everywhere. But we're building the law to close down " +"that technology." +msgstr "" +"bygger vi en teknologi som tar magiske kodak, mikser flytte bilder og lyd, " +"og legger til et mellomrom for kommentarer og en mulighet til Ã¥ spre at " +"kreativiteten overalt. men bygger vi lov til Ã¥ lukke den teknologien." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"No way to run a culture,\" as Brewster Kahle, whom we'll meet in chapter " +"9, quipped to me in a rare moment of despondence." +msgstr "" + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER THREE: Catalogs" +msgstr "Kapittel 3: kataloger" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In the fall of 2002, Jesse Jordan of Oceanside, New York, enrolled as a " +"freshman at Rensselaer Polytechnic Institute, in Troy, New York. His major " +"at RPI was information technology. Though he is not a programmer, in October " +"Jesse decided to begin to tinker with search engine technology that was " +"available on the RPI network." +msgstr "" +"i høsten 2002, jesse jordan av oceanside, new york, registrert som freshman " +"ved rensselaer polytechnic institute, i troy, new york. hans store pÃ¥ rpi " +"var informasjonsteknologi. Selv om han ikke er en programmerer, i oktober " +"besluttet jesse Ã¥ begynne Ã¥ tinker med søkemotorteknologi som var " +"tilgjengelig pÃ¥ rpi-nettverket." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"RPI is one of America's foremost technological research institutions. It " +"offers degrees in fields ranging from architecture and engineering to " +"information sciences. More than 65 percent of its five thousand " +"undergraduates finished in the top 10 percent of their high school class. " +"The school is thus a perfect mix of talent and experience to imagine and " +"then build, a generation for the network age." +msgstr "" +"RPI er en av Amerikas fremst teknologiske forskningsinstitusjoner. Det " +"tilbyr grader i feltene fra arkitektur og konstruksjon til information " +"sciences. mer enn 65 prosent av sine fem tusen undergraduates ferdig i " +"toppen 10 prosent av sin high school-klasse. skolen er dermed en perfekt " +"blanding av talent og erfaring til Ã¥ tenke og deretter bygge en generasjon " +"for nettverk-alder." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"RPI's computer network links students, faculty, and administration to one " +"another. It also links RPI to the Internet. Not everything available on the " +"RPI network is available on the Internet. But the network is designed to " +"enable students to get access to the Internet, as well as more intimate " +"access to other members of the RPI community." +msgstr "" +"rpi's datanettverk kobler studenter, lærere og administrasjon til hverandre. " +"den har ogsÃ¥ koblinger rpi til Internett. ikke alt som er tilgjengelig pÃ¥ " +"nettverket rpi er tilgjengelig pÃ¥ Internett. men nettverket er utformet for " +"Ã¥ aktivere studenter Ã¥ fÃ¥ tilgang til Internett, sÃ¥ vel som mer intimt " +"tilgang til andre medlemmer av samfunnet rpi." + +#. PAGE BREAK 62 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Search engines are a measure of a network's intimacy. Google brought the " +"Internet much closer to all of us by fantastically improving the quality of " +"search on the network. Specialty search engines can do this even better. The " +"idea of \"intranet\" search engines, search engines that search within the " +"network of a particular institution, is to provide users of that institution " +"with better access to material from that institution. Businesses do this " +"all the time, enabling employees to have access to material that people " +"outside the business can't get. Universities do it as well." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These engines are enabled by the network technology itself. Microsoft, for " +"example, has a network file system that makes it very easy for search " +"engines tuned to that network to query the system for information about the " +"publicly (within that network) available content. Jesse's search engine was " +"built to take advantage of this technology. It used Microsoft's network file " +"system to build an index of all the files available within the RPI network." +msgstr "" +"Disse motorene er aktivert som nettverk teknologien i seg selv. Microsoft, " +"har et nettverksfilsystem som gjør det svært enkelt for søkemotorer som er " +"stilt inn pÃ¥ nettverket til Ã¥ spørre systemet for informasjon om for " +"eksempel den offentlig (innen nettverket) tilgjengelig innhold. jesse's " +"søkemotor ble bygget for Ã¥ dra nytte av denne teknologien. det brukes " +"Microsofts NFS til Ã¥ lage en indeks over alle filer som er tilgjengelige " +"innenfor rpi-nettverket." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Jesse's wasn't the first search engine built for the RPI network. Indeed, " +"his engine was a simple modification of engines that others had built. His " +"single most important improvement over those engines was to fix a bug within " +"the Microsoft file-sharing system that could cause a user's computer to " +"crash. With the engines that existed before, if you tried to access a file " +"through a Windows browser that was on a computer that was off-line, your " +"computer could crash. Jesse modified the system a bit to fix that problem, " +"by adding a button that a user could click to see if the machine holding the " +"file was still on-line." +msgstr "" +"jesse's var ikke den første søkemotoren som er bygd for rpi-nettverket. " +"motoren hans var faktisk en enkel endring av motorer som andre hadde bygget. " +"hans enkelt høyst betydelig forbedring i forhold til disse motorene var Ã¥ " +"fikse en feil i microsoft-fildeling systemet som kan føre til en brukers " +"datamaskin til Ã¥ krasje. med motorer som fantes før Hvis du prøvde Ã¥ fÃ¥ " +"tilgang til en fil via en windows-leser som var pÃ¥ en datamaskin som var " +"frakoblet, datamaskinen kan krasje. Jesse endret systemet litt for Ã¥ løse " +"det problemet, ved Ã¥ legge til en knapp som en bruker kan klikke for Ã¥ se om " +"maskinen holde filen var fortsatt on-line." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Jesse's engine went on-line in late October. Over the following six months, " +"he continued to tweak it to improve its functionality. By March, the system " +"was functioning quite well. Jesse had more than one million files in his " +"directory, including every type of content that might be on users' computers." +msgstr "" +"jesse's motor gikk on-line i slutten av oktober. de følgende seks mÃ¥neder " +"fortsatte han Ã¥ tweak det for Ã¥ forbedre funksjonaliteten. av mars, var " +"systemet fungerer ganske bra. Jesse hatt mer enn én million filer i hans " +"mappen, inkludert alle typer innhold som kan være pÃ¥ brukernes datamaskiner." + +#. PAGE BREAK 63 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Thus the index his search engine produced included pictures, which students " +"could use to put on their own Web sites; copies of notes or research; copies " +"of information pamphlets; movie clips that students might have created; " +"university brochures--basically anything that users of the RPI network made " +"available in a public folder of their computer." +msgstr "" +"dermed the index sin søkemotor produsert inkludert bilder, som elevene kan " +"bruke til Ã¥ sette pÃ¥ sine egne webomrÃ¥der; Kopier av notater eller " +"forskning; Kopier av informasjon hefter; filmklipp studenter har opprettet; " +"Universitetet brosjyrer--i utgangspunktet alt som brukere av rpi-nettverket " +"gjøres tilgjengelig i en fellesmappe pÃ¥ datamaskinen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But the index also included music files. In fact, one quarter of the files " +"that Jesse's search engine listed were music files. But that means, of " +"course, that three quarters were not, and--so that this point is absolutely " +"clear--Jesse did nothing to induce people to put music files in their public " +"folders. He did nothing to target the search engine to these files. He was a " +"kid tinkering with a Google-like technology at a university where he was " +"studying information science, and hence, tinkering was the aim. Unlike " +"Google, or Microsoft, for that matter, he made no money from this tinkering; " +"he was not connected to any business that would make any money from this " +"experiment. He was a kid tinkering with technology in an environment where " +"tinkering with technology was precisely what he was supposed to do." +msgstr "" +"men the index ogsÃ¥ inkludert musikkfiler. faktisk en fjerdedel av filene som " +"jesse søkemotor oppført var musikkfiler. men det betyr, selvfølgelig, at tre " +"firedeler var ikke, og--slik at dette punktet er helt klart--jesse gjorde " +"noe for Ã¥ overtale folk til Ã¥ sette musikkfiler i deres fellesmapper. Han " +"gjorde ikke noe Ã¥ mÃ¥lrette søkemotoren til disse filene. Han var en gutt " +"fiksing og triksing med en google-liknende teknologi pÃ¥ et universitet, der " +"han studerte informasjonsvitenskap, og dermed, fiksing og triksing var " +"mÃ¥let. i motsetning til google eller microsoft, for saks skyld, fikk han " +"ingen penger fra fiksing og denne triksing; Han ble ikke koblet til enhver " +"bedrift som ville gjøre noen penger fra dette eksperimentet. Han var en gutt " +"fiksing og triksing med teknologi i et miljø hvor fiksing og triksing med " +"teknologi var nøyaktig hva han skulle gjøre." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"On April 3, 2003, Jesse was contacted by the dean of students at RPI. The " +"dean informed Jesse that the Recording Industry Association of America, the " +"RIAA, would be filing a lawsuit against him and three other students whom he " +"didn't even know, two of them at other universities. A few hours later, " +"Jesse was served with papers from the suit. As he read these papers and " +"watched the news reports about them, he was increasingly astonished." +msgstr "" +"3. april 2003, ble jesse kontaktet av dean av studenter ved rpi. dean " +"informert jesse at recording industry association of america, riaa, ville " +"være innlevering av søksmÃ¥let mot ham og tre andre studentene som han ikke " +"visste selv, to av dem pÃ¥ andre universiteter. noen timer senere, ble jesse " +"servert med avhandlinger fra dressen. som han lese disse papirene og sÃ¥ " +"nyhetsrapporter om dem, ble han stadig mer forbauset." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"It was absurd,\" he told me. \"I don't think I did anything wrong. . . . " +"I don't think there's anything wrong with the search engine that I ran " +"or . . . what I had done to it. I mean, I hadn't modified it in any way that " +"promoted or enhanced the work of pirates. I just modified the search engine " +"in a way that would make it easier to use\"--again, a search engine, which " +"Jesse had not himself built, using the Windows filesharing system, which " +"Jesse had not himself built, to enable members of the RPI community to get " +"access to content, which Jesse had not himself created or posted, and the " +"vast majority of which had nothing to do with music." +msgstr "" + +#. PAGE BREAK 64 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But the RIAA branded Jesse a pirate. They claimed he operated a network and " +"had therefore \"willfully\" violated copyright laws. They demanded that he " +"pay them the damages for his wrong. For cases of \"willful infringement,\" " +"the Copyright Act specifies something lawyers call \"statutory damages.\" " +"These damages permit a copyright owner to claim $150,000 per infringement. " +"As the RIAA alleged more than one hundred specific copyright infringements, " +"they therefore demanded that Jesse pay them at least $15,000,000." +msgstr "" + +#. f1 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " +"Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): " +"5, available at 2003 WL 55179443." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Similar lawsuits were brought against three other students: one other " +"student at RPI, one at Michigan Technical University, and one at Princeton. " +"Their situations were similar to Jesse's. Though each case was different in " +"detail, the bottom line in each was exactly the same: huge demands for " +"\"damages\" that the RIAA claimed it was entitled to. If you added up the " +"claims, these four lawsuits were asking courts in the United States to award " +"the plaintiffs close to $100 billion--six times the total profit of the film " +"industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Jesse called his parents. They were supportive but a bit frightened. An " +"uncle was a lawyer. He began negotiations with the RIAA. They demanded to " +"know how much money Jesse had. Jesse had saved $12,000 from summer jobs and " +"other employment. They demanded $12,000 to dismiss the case." +msgstr "" +"Jesse kalt hans foreldre. de var støttende, men litt skremt. en onkel var en " +"advokat. Han begynte forhandlinger med riaa. de forlangte Ã¥ vite hvor mye " +"penger jesse hatt. Jesse hadde lagret $12.000 fra sommerjobber og andre " +"sysselsetting. de krevde $12000 for Ã¥ avvise saken." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The RIAA wanted Jesse to admit to doing something wrong. He refused. They " +"wanted him to agree to an injunction that would essentially make it " +"impossible for him to work in many fields of technology for the rest of his " +"life. He refused. They made him understand that this process of being sued " +"was not going to be pleasant. (As Jesse's father recounted to me, the chief " +"lawyer on the case, Matt Oppenheimer, told Jesse, \"You don't want to pay " +"another visit to a dentist like me.\") And throughout, the RIAA insisted it " +"would not settle the case until it took every penny Jesse had saved." +msgstr "" + +#. PAGE BREAK 65 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Jesse's family was outraged at these claims. They wanted to fight. But " +"Jesse's uncle worked to educate the family about the nature of the American " +"legal system. Jesse could fight the RIAA. He might even win. But the cost of " +"fighting a lawsuit like this, Jesse was told, would be at least $250,000. If " +"he won, he would not recover that money. If he won, he would have a piece of " +"paper saying he had won, and a piece of paper saying he and his family were " +"bankrupt." +msgstr "" +"jesse's familie ble irritert pÃ¥ disse pÃ¥standene. de ønsket Ã¥ kjempe. men " +"jesse's onkel arbeidet for Ã¥ utdanne familien om natur av den amerikanske " +"juridiske systemet. Jesse kunne bekjempe riaa. han kan selv vinne. men " +"kostnaden for kjemper en sak som dette, jesse ble fortalt, ville være minst " +"$250,000. Hvis han vunnet, ville han ikke gjenopprette de pengene. Hvis han " +"vunnet, ville han ha et stykke papir som sa han hadde vunnet, og et stykke " +"papir sier han og hans familie var konkurs." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or " +"$12,000 and a settlement." +msgstr "" +"Slik jesse møtt et mafia-lignende valg: $250,000 og en sjanse til Ã¥ vinne, " +"eller $12.000 og en bosetning." + +#. f2 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Occupational Employment Survey, U.S. Dept. of Labor (2001) (27­2042--" +#| "Musicians and Singers). See also National Endowment for the Arts, More " +#| "Than One in a Blue Moon (2000)." +msgid "" +"Occupational Employment Survey, U.S. Dept. of Labor (2001) (27­2042--" +"Musicians and Singers). See also National Endowment for the Arts, More Than " +"One in a Blue Moon (2000)." +msgstr "" +"yrkesmessig sysselsetting undersøkelse, US dept. of labor (2001) (27­2042--" +"musikere og vokalister). Se ogsÃ¥ nasjonale legat for arts, mer enn en i en " +"blÃ¥ mÃ¥nen (2000)." + +#. f3 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall " +"Street Journal, 10 September 2003, A24." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The recording industry insists this is a matter of law and morality. Let's " +"put the law aside for a moment and think about the morality. Where is the " +"morality in a lawsuit like this? What is the virtue in scapegoatism? The " +"RIAA is an extraordinarily powerful lobby. The president of the RIAA is " +"reported to make more than $1 million a year. Artists, on the other hand, " +"are not well paid. The average recording artist makes $45,900.<placeholder " +"type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect " +"and direct policy. So where is the morality in taking money from a student " +"for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"On June 23, Jesse wired his savings to the lawyer working for the RIAA. The " +"case against him was then dismissed. And with this, this kid who had " +"tinkered a computer into a $15 million lawsuit became an activist:" +msgstr "" +"pÃ¥ den 23 juni kablet jesse hans besparelser til advokaten arbeider for " +"riaa. en sak mot ham ble deretter avvist. og med dette, ble denne gutten som " +"hadde endret noe en datamaskin til en $15 millioner rettssak en aktivist:" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"I was definitely not an activist [before]. I never really meant to be an " +"activist. . . . [But] I've been pushed into this. In no way did I ever " +"foresee anything like this, but I think it's just completely absurd what the " +"RIAA has done." +msgstr "" +"Jeg var definitivt ikke en aktivist [før]. jeg egentlig aldri ment Ã¥ være en " +"aktivist.... [men] jeg har blitt skjøvet inn i dette. pÃ¥ ingen mÃ¥te gjorde " +"jeg noensinne forutsi noe lignende, men jeg tror det er bare helt absurd det " +"riaa har gjort." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Jesse's parents betray a certain pride in their reluctant activist. As his " +"father told me, Jesse \"considers himself very conservative, and so do " +"I. . . . He's not a tree hugger. . . . I think it's bizarre that they would " +"pick on him. But he wants to let people know that they're sending the wrong " +"message. And he wants to correct the record.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER FOUR: \"Pirates\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"If \"piracy\" means using the creative property of others without their " +"permission--if \"if value, then right\" is true--then the history of the " +"content industry is a history of piracy. Every important sector of \"big " +"media\" today--film, records, radio, and cable TV--was born of a kind of " +"piracy so defined. The consistent story is how last generation's pirates " +"join this generation's country club--until now." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Film" +msgstr "filmen" + +#. f1 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "I am grateful to Peter DiMauro for pointing me to this extraordinary " +#| "history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, 87­93, " +#| "which details Edison's \\\"adventures\\\" with copyright and patent." +msgid "" +"I am grateful to Peter DiMauro for pointing me to this extraordinary " +"history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, 87­93, " +"which details Edison's \"adventures\" with copyright and patent." +msgstr "" +"Jeg er takknemlig til peter dimauro for Ã¥ sette meg til dette ekstraordinære " +"historie. Se ogsÃ¥ siva vaidhyanathan, opphavsrett og copywrongs, 87­93, som " +"inneholder informasjon om edison's \\\"opplevelser\\\" med opphavsrett og " +"patent." + +#. PAGE BREAK 67 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The film industry of Hollywood was built by fleeing pirates.<placeholder " +"type=\"footnote\" id=\"0\"/> Creators and directors migrated from the East " +"Coast to California in the early twentieth century in part to escape " +"controls that patents granted the inventor of filmmaking, Thomas Edison. " +"These controls were exercised through a monopoly \"trust,\" the Motion " +"Pictures Patents Company, and were based on Thomas Edison's creative " +"property--patents. Edison formed the MPPC to exercise the rights this " +"creative property gave him, and the MPPC was serious about the control it " +"demanded." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "As one commentator tells one part of the story," +msgstr "som en kommentator forteller en del av historien," + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"A January 1909 deadline was set for all companies to comply with the " +"license. By February, unlicensed outlaws, who referred to themselves as " +"independents protested the trust and carried on business without submitting " +"to the Edison monopoly. In the summer of 1909 the independent movement was " +"in full-swing, with producers and theater owners using illegal equipment and " +"imported film stock to create their own underground market." +msgstr "" +"en tidsfrist for januar 1909 ble angitt for alle selskaper i samsvar med " +"lisens. februar, ulisensiert outlaws, som henviste til seg selv som " +"independents protesterte tillit og videreførte virksomhet uten Ã¥ sende til " +"edison-monopol. i løpet av 1909 sommeren var uavhengige bevegelsen i full-" +"swing, med produsenter og teater eiere bruker ulovlig utstyr og importerte " +"film lager til Ã¥ lage sine egne underjordisk marked." + +#. f2 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion " +"Picture Producers (Cobblestone Entertainment, 2000) and expanded texts " +"posted at \"The Edison Movie Monopoly: The Motion Picture Patents Company " +"vs. the Independent Outlaws,\" available at <ulink url=\"http://free-culture." +"cc/notes/\">link #11</ulink>. For a discussion of the economic motive behind " +"both these limits and the limits imposed by Victor on phonographs, see " +"Randal C. Picker, \"From Edison to the Broadcast Flag: Mechanisms of Consent " +"and Refusal and the Propertization of Copyright\" (September 2002), " +"University of Chicago Law School, James M. Olin Program in Law and " +"Economics, Working Paper No. 159." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"With the country experiencing a tremendous expansion in the number of " +"nickelodeons, the Patents Company reacted to the independent movement by " +"forming a strong-arm subsidiary known as the General Film Company to block " +"the entry of non-licensed independents. With coercive tactics that have " +"become legendary, General Film confiscated unlicensed equipment, " +"discontinued product supply to theaters which showed unlicensed films, and " +"effectively monopolized distribution with the acquisition of all U.S. film " +"exchanges, except for the one owned by the independent William Fox who " +"defied the Trust even after his license was revoked.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. f3 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at " +"<ulink url=\"http://free-culture.cc/notes/\">link #12</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The Napsters of those days, the \"independents,\" were companies like Fox. " +"And no less than today, these independents were vigorously resisted. " +"\"Shooting was disrupted by machinery stolen, and `accidents' resulting in " +"loss of negatives, equipment, buildings and sometimes life and limb " +"frequently occurred.\"<placeholder type=\"footnote\" id=\"0\"/> That led the " +"independents to flee the East Coast. California was remote enough from " +"Edison's reach that filmmakers there could pirate his inventions without " +"fear of the law. And the leaders of Hollywood filmmaking, Fox most " +"prominently, did just that." +msgstr "" + +#. PAGE BREAK 68 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Of course, California grew quickly, and the effective enforcement of federal " +"law eventually spread west. But because patents grant the patent holder a " +"truly \"limited\" monopoly (just seventeen years at that time), by the time " +"enough federal marshals appeared, the patents had expired. A new industry " +"had been born, in part from the piracy of Edison's creative property." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Recorded Music" +msgstr "innspilt musikk" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The record industry was born of another kind of piracy, though to see how " +"requires a bit of detail about the way the law regulates music." +msgstr "" +"rullebladet industri ble født av en annen type piratkopiering, om Ã¥ se " +"hvordan krever en bit av detaljer om hvordan loven regulerer musikk." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"At the time that Edison and Henri Fourneaux invented machines for " +"reproducing music (Edison the phonograph, Fourneaux the player piano), the " +"law gave composers the exclusive right to control copies of their music and " +"the exclusive right to control public performances of their music. In other " +"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit \"Happy Mose,\" " +"the law said I would have to pay for the right to get a copy of the musical " +"score, and I would also have to pay for the right to perform it publicly." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But what if I wanted to record \"Happy Mose,\" using Edison's phonograph or " +"Fourneaux's player piano? Here the law stumbled. It was clear enough that I " +"would have to buy any copy of the musical score that I performed in making " +"this recording. And it was clear enough that I would have to pay for any " +"public performance of the work I was recording. But it wasn't totally clear " +"that I would have to pay for a \"public performance\" if I recorded the song " +"in my own house (even today, you don't owe the Beatles anything if you sing " +"their songs in the shower), or if I recorded the song from memory (copies in " +"your brain are not--yet-- regulated by copyright law). So if I simply sang " +"the song into a recording device in the privacy of my own home, it wasn't " +"clear that I owed the composer anything. And more importantly, it wasn't " +"clear whether I owed the composer anything if I then made copies of those " +"recordings. Because of this gap in the law, then, I could effectively " +"pirate someone else's song without paying its composer anything." +msgstr "" + +#. PAGE BREAK 69 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The composers (and publishers) were none too happy about this capacity to " +"pirate. As South Dakota senator Alfred Kittredge put it," +msgstr "" +"komponister (og utgivere) var ingen sÃ¥ glade om denne kapasiteten til pirat. " +"som i Sør-dakota senator alfred sa kittredge," + +#. f4 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright: Hearings on S. 6330 " +"and H.R. 19853 Before the ( Joint) Committees on Patents, 59th Cong. 59, 1st " +"sess. (1906) (statement of Senator Alfred B. Kittredge, of South Dakota, " +"chairman), reprinted in Legislative History of the Copyright Act, E. Fulton " +"Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, " +"1976)." +msgstr "" +"endre og konsolidere handlinger som respekterer copyright: hearings pÃ¥ s. " +"6330 og hr 19853 før (felles) komiteer pÃ¥ patenter, 59th cong. 59, 1 sess. " +"(1906) (setning av senator alfred b. kittredge av Sør-dakota, formann), " +"reprinted i lovgivningens bakgrunn av copyright act, e. brylawski for fulton " +"og abe goldman, Red. (south hackensack, NJ: rothman opptrykk, 1976)." + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"Imagine the injustice of the thing. A composer writes a song or an opera. A " +"publisher buys at great expense the rights to the same and copyrights it. " +"Along come the phonographic companies and companies who cut music rolls and " +"deliberately steal the work of the brain of the composer and publisher " +"without any regard for [their] rights.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" + +#. f5 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of " +"Nathan Burkan, attorney for the Music Publishers Association)." +msgstr "" +"endre og konsolidere handlinger som respekterer opphavsrett, 223 (setning av " +"nathan burkan, advokat for musikk publishers association)." + +#. f6 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of " +"Nathan Burkan, attorney for the Music Publishers Association)." +msgstr "" +"endre og konsolidere handlinger som respekterer opphavsrett, 226 (setning av " +"nathan burkan, advokat for musikk publishers association)." + +#. f7 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of " +"John Philip Sousa, composer)." +msgstr "" +"endre og konsolidere handlinger som respekterer opphavsrett, 23 (setning av " +"john philip sousa, komponist)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The innovators who developed the technology to record other people's works " +"were \"sponging upon the toil, the work, the talent, and genius of American " +"composers,\"<placeholder type=\"footnote\" id=\"0\"/> and the \"music " +"publishing industry\" was thereby \"at the complete mercy of this one pirate." +"\"<placeholder type=\"footnote\" id=\"1\"/> As John Philip Sousa put it, in " +"as direct a way as possible, \"When they make money out of my pieces, I want " +"a share of it.\"<placeholder type=\"footnote\" id=\"2\"/>" +msgstr "" + +#. f8 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "To Amend and Consolidate the Acts Respecting Copyright, 283­84 (statement " +#| "of Albert Walker, representative of the Auto-Music Perforating Company of " +#| "New York)." +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 283­84 (statement of " +"Albert Walker, representative of the Auto-Music Perforating Company of New " +"York)." +msgstr "" +"endre og konsolidere handlinger som respekterer opphavsrett, 283­84 (setning " +"av albert walker, er representative for auto-musikk perforating selskapet i " +"new york)." + +#. f9 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared " +"memorandum of Philip Mauro, general patent counsel of the American " +"Graphophone Company Association)." +msgstr "" +"endre og konsolidere handlinger som respekterer opphavsrett, 376 (forberedt " +"memorandum of philip mauro, patent sjefsjurist for amerikansk graphophone " +"selskapet association)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These arguments have familiar echoes in the wars of our day. So, too, do the " +"arguments on the other side. The innovators who developed the player piano " +"argued that \"it is perfectly demonstrable that the introduction of " +"automatic music players has not deprived any composer of anything he had " +"before their introduction.\" Rather, the machines increased the sales of " +"sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the " +"innovators argued, the job of Congress was \"to consider first the interest " +"of [the public], whom they represent, and whose servants they are.\" \"All " +"talk about `theft,'\" the general counsel of the American Graphophone " +"Company wrote, \"is the merest claptrap, for there exists no property in " +"ideas musical, literary or artistic, except as defined by statute." +"\"<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. PAGE BREAK 70 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The law soon resolved this battle in favor of the composer and the recording " +"artist. Congress amended the law to make sure that composers would be paid " +"for the \"mechanical reproductions\" of their music. But rather than simply " +"granting the composer complete control over the right to make mechanical " +"reproductions, Congress gave recording artists a right to record the music, " +"at a price set by Congress, once the composer allowed it to be recorded " +"once. This is the part of copyright law that makes cover songs possible. " +"Once a composer authorizes a recording of his song, others are free to " +"record the same song, so long as they pay the original composer a fee set by " +"the law." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"American law ordinarily calls this a \"compulsory license,\" but I will " +"refer to it as a \"statutory license.\" A statutory license is a license " +"whose key terms are set by law. After Congress's amendment of the Copyright " +"Act in 1909, record companies were free to distribute copies of recordings " +"so long as they paid the composer (or copyright holder) the fee set by the " +"statute." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is an exception within the law of copyright. When John Grisham writes a " +"novel, a publisher is free to publish that novel only if Grisham gives the " +"publisher permission. Grisham, in turn, is free to charge whatever he wants " +"for that permission. The price to publish Grisham is thus set by Grisham, " +"and copyright law ordinarily says you have no permission to use Grisham's " +"work except with permission of Grisham." +msgstr "" +"Dette er et unntak i henhold til loven om opphavsrett. NÃ¥r john grisham " +"skriver en roman, er en utgiver gratis Ã¥ publisere denne romanen bare hvis " +"grisham gir publisher-tillatelse. Grisham, i sin tur er gratis Ã¥ belaste det " +"han ønsker for denne tillatelsen. prisen til Ã¥ publisere grisham dermed er " +"satt av grisham og lov om opphavsrett sier vanligvis du har ikke tillatelse " +"til Ã¥ bruke grisham's arbeide bortsett med tillatelse fra grisham." + +#. f10 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and H.R. " +"11794 Before the ( Joint) Committee on Patents, 60th Cong., 1st sess., 217 " +"(1908) (statement of Senator Reed Smoot, chairman), reprinted in Legislative " +"History of the 1909 Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. " +"(South Hackensack, N.J.: Rothman Reprints, 1976)." +msgstr "" +"Copyright lov revision: hearings pÃ¥ s. 2499, s. 2900, hr 243 og hr 11794 før " +"(felles) komiteen pÃ¥ patenter, 60 cong., 1 sess., 217 (1908) (setning av " +"senator reed smoot, formann), reprinted i lovgivningens bakgrunn av 1909 " +"copyright act, e. brylawski for fulton og abe goldman, Red. (south " +"hackensack, NJ: rothman opptrykk, 1976)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But the law governing recordings gives recording artists less. And thus, in " +"effect, the law subsidizes the recording industry through a kind of piracy--" +"by giving recording artists a weaker right than it otherwise gives creative " +"authors. The Beatles have less control over their creative work than Grisham " +"does. And the beneficiaries of this less control are the recording industry " +"and the public. The recording industry gets something of value for less than " +"it otherwise would pay; the public gets access to a much wider range of " +"musical creativity. Indeed, Congress was quite explicit about its reasons " +"for granting this right. Its fear was the monopoly power of rights holders, " +"and that that power would stifle follow-on creativity.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"While the recording industry has been quite coy about this recently, " +"historically it has been quite a supporter of the statutory license for " +"records. As a 1967 report from the House Committee on the Judiciary relates," +msgstr "" +"mens musikkindustrien har vært ganske sjenert om dette nylig, historisk har " +"det vært ganske en tilhenger av lovbestemte lisensen for poster. som en 1967 " +"relaterer rapport fra house committee pÃ¥ rettsvesenet," + +#. f11 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"Copyright Law Revision: Report to Accompany H.R. 2512, House Committee on " +"the Judiciary, 90th Cong., 1st sess., House Document no. 83, (8 March 1967). " +"I am grateful to Glenn Brown for drawing my attention to this report." +msgstr "" +"Copyright lov revision: rapporten skal følge med HR 2512, huset committee on " +"rettsvesenet, 90th cong., 1 sess., huset dokument nr. 83, (8 mars 1967). Jeg " +"er takknemlig for glenn brun for tegning min oppmerksomhet til denne " +"rapporten." + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"the record producers argued vigorously that the compulsory license system " +"must be retained. They asserted that the record industry is a half-billion-" +"dollar business of great economic importance in the United States and " +"throughout the world; records today are the principal means of disseminating " +"music, and this creates special problems, since performers need unhampered " +"access to musical material on nondiscriminatory terms. Historically, the " +"record producers pointed out, there were no recording rights before 1909 and " +"the 1909 statute adopted the compulsory license as a deliberate anti-" +"monopoly condition on the grant of these rights. They argue that the result " +"has been an outpouring of recorded music, with the public being given lower " +"prices, improved quality, and a greater choice.<placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"By limiting the rights musicians have, by partially pirating their creative " +"work, the record producers, and the public, benefit." +msgstr "" +"ved Ã¥ begrense fordel rettighetene musikere har, ved delvis pirating sine " +"skapende arbeid, registrere produsentene og offentligheten." + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Radio" +msgstr "Radio" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "Radio was also born of piracy." +msgstr "Radio ble ogsÃ¥ født av piratkopiering." + +#. f12 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See 17 United States Code, sections 106 and 110. At the beginning, record " +"companies printed \"Not Licensed for Radio Broadcast\" and other messages " +"purporting to restrict the ability to play a record on a radio station. " +"Judge Learned Hand rejected the argument that a warning attached to a record " +"might restrict the rights of the radio station. See RCA Manufacturing Co. v. " +"Whiteman, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. Picker, \"From " +"Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the " +"Propertization of Copyright,\" University of Chicago Law Review 70 (2003): " +"281." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"When a radio station plays a record on the air, that constitutes a \"public " +"performance\" of the composer's work.<placeholder type=\"footnote\" id=\"0\"/" +"> As I described above, the law gives the composer (or copyright holder) an " +"exclusive right to public performances of his work. The radio station thus " +"owes the composer money for that performance." +msgstr "" + +#. PAGE BREAK 72 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But when the radio station plays a record, it is not only performing a copy " +"of the composer's work. The radio station is also performing a copy of the " +"recording artist's work. It's one thing to have \"Happy Birthday\" sung on " +"the radio by the local children's choir; it's quite another to have it sung " +"by the Rolling Stones or Lyle Lovett. The recording artist is adding to the " +"value of the composition performed on the radio station. And if the law " +"were perfectly consistent, the radio station would have to pay the recording " +"artist for his work, just as it pays the composer of the music for his work." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But it doesn't. Under the law governing radio performances, the radio " +"station does not have to pay the recording artist. The radio station need " +"only pay the composer. The radio station thus gets a bit of something for " +"nothing. It gets to perform the recording artist's work for free, even if it " +"must pay the composer something for the privilege of playing the song." +msgstr "" +"men det ikke. under loven styrende radio forestillinger, har radiostasjonen " +"ikke Ã¥ betale innspillingen artist. radiostasjonen trenger bare Ã¥ betale " +"komponisten. radiostasjonen fÃ¥r dermed en bit av noe for ingenting. det blir " +"Ã¥ utføre den Plateartist arbeid gratis, selv om det mÃ¥ betale komponisten " +"noe for privilegiet av Ã¥ spille sangen." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This difference can be huge. Imagine you compose a piece of music. Imagine " +"it is your first. You own the exclusive right to authorize public " +"performances of that music. So if Madonna wants to sing your song in public, " +"she has to get your permission." +msgstr "" +"denne forskjellen kan være stor. Tenk du komponere musikk. forestille seg " +"det er din første. du eier den eksklusive retten til Ã¥ godkjenne " +"teateroppsetninger av at musikk. sÃ¥ hvis madonna ønsker Ã¥ synge sangen i det " +"offentlige, hun har Ã¥ bli din tillatelse." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Imagine she does sing your song, and imagine she likes it a lot. She then " +"decides to make a recording of your song, and it becomes a top hit. Under " +"our law, every time a radio station plays your song, you get some money. But " +"Madonna gets nothing, save the indirect effect on the sale of her CDs. The " +"public performance of her recording is not a \"protected\" right. The radio " +"station thus gets to pirate the value of Madonna's work without paying her " +"anything." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"No doubt, one might argue that, on balance, the recording artists benefit. " +"On average, the promotion they get is worth more than the performance rights " +"they give up. Maybe. But even if so, the law ordinarily gives the creator " +"the right to make this choice. By making the choice for him or her, the law " +"gives the radio station the right to take something for nothing." +msgstr "" +"ingen tvil, kan man argumentere at, pÃ¥ saldo, artistene nytte. i " +"gjennomsnitt er kampanjen de fÃ¥r verdt mer enn ytelse rettigheter de gir " +"opp. kanskje. men selv om sÃ¥, loven vanligvis gir skaperen retten til Ã¥ " +"gjøre dette valget. ved Ã¥ gjøre valg for ham eller henne, gir loven " +"radiostasjonen retten til Ã¥ ta noe for ingenting." + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Cable TV" +msgstr "kabel-tv" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "Cable TV was also born of a kind of piracy." +msgstr "kabel-tv ble ogsÃ¥ født av en form for piratkopiering." + +#. PAGE BREAK 73 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"When cable entrepreneurs first started wiring communities with cable " +"television in 1948, most refused to pay broadcasters for the content that " +"they echoed to their customers. Even when the cable companies started " +"selling access to television broadcasts, they refused to pay for what they " +"sold. Cable companies were thus Napsterizing broadcasters' content, but more " +"egregiously than anything Napster ever did-- Napster never charged for the " +"content it enabled others to give away." +msgstr "" +"da kabel gründere startet ledningsnett fellesskap med kabel-TV i 1948, mest " +"nektet Ã¥ betale broadcasters for innhold som de echoed til sine kunder. selv " +"nÃ¥r kabelselskaper begynte Ã¥ selge tilgang til TV-sendinger, nektet de Ã¥ " +"betale for hva de solgte. kabelselskaper var dermed napsterizing " +"broadcasters' innhold, men mer egregiously enn noe napster gjorde noensinne--" +"napster belastet aldri for innholdet det aktivert andre til Ã¥ gi bort." + +#. f13 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Copyright Law Revision--CATV: Hearing on S. 1006 Before the Subcommittee on " +"Patents, Trademarks, and Copyrights of the Senate Committee on the " +"Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel H. Hyde, " +"chairman of the Federal Communications Commission)." +msgstr "" +"Copyright lov revision--catv: høre s. 1006 før subcommittee on patenter, " +"varemerker og opphavsrett for senatets komité pÃ¥ rettsvesenet, 89nde cong., " +"2nd sess., 78 (1966) (setning av rosel h. hyde, formann i federal " +"communications commission)." + +#. f14 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Copyright Law Revision--CATV, 116 (statement of Douglas A. Anello, general " +"counsel of the National Association of Broadcasters)." +msgstr "" +"Copyright lov revision--catv, 116 (setning av douglas a. anello, sjefsjurist " +"av national association of broadcasters)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Broadcasters and copyright owners were quick to attack this theft. Rosel " +"Hyde, chairman of the FCC, viewed the practice as a kind of \"unfair and " +"potentially destructive competition.\"<placeholder type=\"footnote\" id=" +"\"0\"/> There may have been a \"public interest\" in spreading the reach of " +"cable TV, but as Douglas Anello, general counsel to the National Association " +"of Broadcasters, asked Senator Quentin Burdick during testimony, \"Does " +"public interest dictate that you use somebody else's property?\"<placeholder " +"type=\"footnote\" id=\"1\"/> As another broadcaster put it," +msgstr "" + +#. f15 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"Copyright Law Revision--CATV, 126 (statement of Ernest W. Jennes, general " +"counsel of the Association of Maximum Service Telecasters, Inc.)." +msgstr "" +"Copyright lov revision--catv, 126 (setning av ernest w. jennes, sjefsjurist " +"av tilknytningen for maksimal service telecasters, inc.)." + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"The extraordinary thing about the CATV business is that it is the only " +"business I know of where the product that is being sold is not paid for." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "Again, the demand of the copyright holders seemed reasonable enough:" +msgstr "igjen, etterspørselen av rettighetshavere virket fornuftig nok:" + +#. f16 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"Copyright Law Revision--CATV, 169 (joint statement of Arthur B. Krim, " +"president of United Artists Corp., and John Sinn, president of United " +"Artists Television, Inc.)." +msgstr "" +"Copyright lov revision--catv, 169 (felleserklæringen av arthur b. Krim, " +"president i united artists Corporation og john sinn, president i united " +"artists TV, inc.)." + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"All we are asking for is a very simple thing, that people who now take our " +"property for nothing pay for it. We are trying to stop piracy and I don't " +"think there is any lesser word to describe it. I think there are harsher " +"words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f17 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Copyright Law Revision--CATV, 209 (statement of Charlton Heston, president " +"of the Screen Actors Guild)." +msgstr "" +"Copyright lov revision--catv, 209 (charlton heston-setningen, president i " +"screen actors guild)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These were \"free-ride[rs],\" Screen Actor's Guild president Charlton Heston " +"said, who were \"depriving actors of compensation.\"<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But again, there was another side to the debate. As Assistant Attorney " +"General Edwin Zimmerman put it," +msgstr "" +"men igjen, det var en annen side i debatten. som assistent justisministeren " +"sa edwin zimmerman," + +#. f18 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"Copyright Law Revision--CATV, 216 (statement of Edwin M. Zimmerman, acting " +"assistant attorney general)." +msgstr "" +"Copyright lov revision--catv, 216 (setning av edwin m. Zimmerman fungerende " +"assistent justisministeren)." + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"Our point here is that unlike the problem of whether you have any copyright " +"protection at all, the problem here is whether copyright holders who are " +"already compensated, who already have a monopoly, should be permitted to " +"extend that monopoly. . . . The question here is how much compensation they " +"should have and how far back they should carry their right to compensation." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Copyright owners took the cable companies to court. Twice the Supreme Court " +"held that the cable companies owed the copyright owners nothing." +msgstr "" +"opphavsrett eiere tok kabelselskaper til retten. Høyesterett holdt to ganger " +"at kabelselskaper skyldte opphavsrett eierne ingenting." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"It took Congress almost thirty years before it resolved the question of " +"whether cable companies had to pay for the content they \"pirated.\" In the " +"end, Congress resolved this question in the same way that it resolved the " +"question about record players and player pianos. Yes, cable companies would " +"have to pay for the content that they broadcast; but the price they would " +"have to pay was not set by the copyright owner. The price was set by law, " +"so that the broadcasters couldn't exercise veto power over the emerging " +"technologies of cable. Cable companies thus built their empire in part upon " +"a \"piracy\" of the value created by broadcasters' content." +msgstr "" + +#. f19 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See, for example, National Music Publisher's Association, The Engine of Free " +"Expression: Copyright on the Internet--The Myth of Free Information, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #13</ulink>. " +"\"The threat of piracy--the use of someone else's creative work without " +"permission or compensation--has grown with the Internet.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These separate stories sing a common theme. If \"piracy\" means using value " +"from someone else's creative property without permission from that creator--" +"as it is increasingly described today<placeholder type=\"footnote\" id=\"0\"/" +"> -- then every industry affected by copyright today is the product and " +"beneficiary of a certain kind of piracy. Film, records, radio, cable " +"TV. . . . The list is long and could well be expanded. Every generation " +"welcomes the pirates from the last. Every generation--until now." +msgstr "" + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER FIVE: \"Piracy\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"There is piracy of copyrighted material. Lots of it. This piracy comes in " +"many forms. The most significant is commercial piracy, the unauthorized " +"taking of other people's content within a commercial context. Despite the " +"many justifications that are offered in its defense, this taking is wrong. " +"No one should condone it, and the law should stop it." +msgstr "" +"Det er piratkopiering av opphavsrettsbeskyttet materiale. mye av det. Denne " +"sjørøver kommer i mange former. den mest betydningsfulle er kommersielle " +"piratkopiering, uautorisert Ã¥ ta av andres innhold i en kommersiell " +"kontekst. til tross for mange justifications som tilbys i sitt forsvar, er " +"dette tar galt. ingen bør condone det, og loven skal slutte det." + +#. PAGE BREAK 76 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But as well as copy-shop piracy, there is another kind of \"taking\" that is " +"more directly related to the Internet. That taking, too, seems wrong to " +"many, and it is wrong much of the time. Before we paint this taking \"piracy," +"\" however, we should understand its nature a bit more. For the harm of " +"this taking is significantly more ambiguous than outright copying, and the " +"law should account for that ambiguity, as it has so often done in the past." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Piracy I" +msgstr "piratkopiering jeg" + +#. f1 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See IFPI (International Federation of the Phonographic Industry), The " +"Recording Industry Commercial Piracy Report 2003, July 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #14</ulink>. See also Ben " +"Hunt, \"Companies Warned on Music Piracy Risk,\" Financial Times, 14 " +"February 2003, 11." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"All across the world, but especially in Asia and Eastern Europe, there are " +"businesses that do nothing but take others people's copyrighted content, " +"copy it, and sell it--all without the permission of a copyright owner. The " +"recording industry estimates that it loses about $4.6 billion every year to " +"physical piracy<placeholder type=\"footnote\" id=\"0\"/> (that works out to " +"one in three CDs sold worldwide). The MPAA estimates that it loses $3 " +"billion annually worldwide to piracy." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is piracy plain and simple. Nothing in the argument of this book, nor " +"in the argument that most people make when talking about the subject of this " +"book, should draw into doubt this simple point: This piracy is wrong." +msgstr "" +"Dette er piratkopiering ren og enkel. ingenting i argumentet av denne boken, " +"og heller ikke i argumentet om at fleste gjør nÃ¥r du snakker om emnet av " +"denne boken, bør trekke i tvil dette enkle punktet: denne piratkopiering er " +"galt." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Which is not to say that excuses and justifications couldn't be made for it. " +"We could, for example, remind ourselves that for the first one hundred years " +"of the American Republic, America did not honor foreign copyrights. We were " +"born, in this sense, a pirate nation. It might therefore seem hypocritical " +"for us to insist so strongly that other developing nations treat as wrong " +"what we, for the first hundred years of our existence, treated as right." +msgstr "" +"som er ikke Ã¥ si at unnskyldninger og justifications ikke kunne laget for " +"den. Vi kan, for eksempel minne oss at for de første hundre Ã¥r av den " +"amerikanske Republikken, Amerika ikke ære utenlandske opphavsrettigheter. Vi " +"ble født, i denne forstand, en pirat nasjon. Det kan derfor synes " +"hypocritical for oss Ã¥ insistere sÃ¥ sterkt at andre utviklingsland behandle " +"feil hva vi, for de første hundre Ã¥r av vÃ¥r eksistens, behandlet som høyre." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"That excuse isn't terribly strong. Technically, our law did not ban the " +"taking of foreign works. It explicitly limited itself to American works. " +"Thus the American publishers who published foreign works without the " +"permission of foreign authors were not violating any rule. The copy shops " +"in Asia, by contrast, are violating Asian law. Asian law does protect " +"foreign copyrights, and the actions of the copy shops violate that law. So " +"the wrong of piracy that they engage in is not just a moral wrong, but a " +"legal wrong, and not just an internationally legal wrong, but a locally " +"legal wrong as well." +msgstr "" +"den unnskyldning er ikke veldig sterk. teknisk, vÃ¥r lov ikke Ben Ã¥ ta av " +"utenlandske fungerer. det begrenset eksplisitt seg til amerikanske works. " +"Dermed ble er amerikansk utgivere som publisert utenlandske fungerer uten " +"tillatelse fra utenlandske forfattere ikke bryter reglementet. " +"kopieringsfirmaer i asia, derimot, er krenkjer asiatiske lov. asiatiske lov " +"beskytter utenlandske opphavsrettigheter, og handlingene til " +"kopieringsfirmaer bryter den lov. sÃ¥ feil for piratvirksomhet som de delta i " +"er ikke bare en moralsk galt, men en juridisk galt, og ikke bare et " +"internasjonalt juridiske galt, men en lokalt juridiske galt ogsÃ¥." + +#. PAGE BREAK 77 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"True, these local rules have, in effect, been imposed upon these countries. " +"No country can be part of the world economy and choose not to protect " +"copyright internationally. We may have been born a pirate nation, but we " +"will not allow any other nation to have a similar childhood." +msgstr "" +"sant, disse lokale regler har, i kraft, blitt pÃ¥tvunget disse landene. ikke " +"noe land kan være en del av verdensøkonomien og velge ikke Ã¥ beskytte " +"opphavsretten internasjonalt. Vi kan ha vært født en pirat nasjon, men vi " +"tillater ikke noen annen nasjon til Ã¥ ha en lignende barndom." + +#. f2 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns " +#| "the Knowledge Economy? (New York: The New Press, 2003), 10­13, 209. The " +#| "Trade-Related Aspects of Intellectual Property Rights (TRIPS) agreement " +#| "obligates member nations to create administrative and enforcement " +#| "mechanisms for intellectual property rights, a costly proposition for " +#| "developing countries. Additionally, patent rights may lead to higher " +#| "prices for staple industries such as agriculture. Critics of TRIPS " +#| "question the disparity between burdens imposed upon developing countries " +#| "and benefits conferred to industrialized nations. TRIPS does permit " +#| "governments to use patents for public, noncommercial uses without first " +#| "obtaining the patent holder's permission. Developing nations may be able " +#| "to use this to gain the benefits of foreign patents at lower prices. This " +#| "is a promising strategy for developing nations within the TRIPS framework." +msgid "" +"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the " +"Knowledge Economy? (New York: The New Press, 2003), 10­13, 209. The Trade-" +"Related Aspects of Intellectual Property Rights (TRIPS) agreement obligates " +"member nations to create administrative and enforcement mechanisms for " +"intellectual property rights, a costly proposition for developing countries. " +"Additionally, patent rights may lead to higher prices for staple industries " +"such as agriculture. Critics of TRIPS question the disparity between burdens " +"imposed upon developing countries and benefits conferred to industrialized " +"nations. TRIPS does permit governments to use patents for public, " +"noncommercial uses without first obtaining the patent holder's permission. " +"Developing nations may be able to use this to gain the benefits of foreign " +"patents at lower prices. This is a promising strategy for developing nations " +"within the TRIPS framework." +msgstr "" +"se peter drahos med john braithwaite, informasjon Føydalisme: hvem som eier " +"knowledge economy? (new york: ny press, 2003), 10­13, 209. handel-relaterte " +"aspekter av immaterielle rettigheter (turer) avtalen obligates " +"medlemslandene til Ã¥ opprette administrative og hÃ¥ndhevelse mekanismer for " +"immaterielle rettigheter, en kostbar proposition for utviklingsland. i " +"tillegg kan patentrettigheter føre til høyere priser pÃ¥ stift bransjer som " +"jordbruk. kritikere av reiser spørsmÃ¥let ulikhet mellom byrder pÃ¥tvang " +"utviklingsland og fordeler som er gitt til industrilandene. turer tillater " +"at regjeringene til Ã¥ bruke patenter for offentlig, ikke-kommersiell bruk " +"uten først Ã¥ innhente den patent holder tillatelse. utviklingsland kanskje " +"kunne bruke dette for Ã¥ fÃ¥ fordelene med utenlandske patenter til lavere " +"priser. Dette er en lovende strategi for utviklingsland rammene turer." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"If a country is to be treated as a sovereign, however, then its laws are its " +"laws regardless of their source. The international law under which these " +"nations live gives them some opportunities to escape the burden of " +"intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my " +"view, more developing nations should take advantage of that opportunity, but " +"when they don't, then their laws should be respected. And under the laws of " +"these nations, this piracy is wrong." +msgstr "" + +#. f3 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "For an analysis of the economic impact of copying technology, see Stan " +#| "Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002), 144­" +#| "90. \\\"In some instances . . . the impact of piracy on the copyright " +#| "holder's ability to appropriate the value of the work will be negligible. " +#| "One obvious instance is the case where the individual engaging in " +#| "pirating would not have purchased an original even if pirating were not " +#| "an option.\\\" Ibid., 149." +msgid "" +"For an analysis of the economic impact of copying technology, see Stan " +"Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002), 144­90. " +"\"In some instances . . . the impact of piracy on the copyright holder's " +"ability to appropriate the value of the work will be negligible. One obvious " +"instance is the case where the individual engaging in pirating would not " +"have purchased an original even if pirating were not an option.\" Ibid., 149." +msgstr "" +"for en analyse av økonomiske virkningen av kopiering teknologi, kan du se " +"stan liebowitz, rethinking nettverk økonomien (new york: amacom, 2002), 144­" +"90. \\\"i noen tilfeller... virkningen av piratkopiering pÃ¥ " +"opphavsrettsinnehavers evne til Ã¥ tilegne verdien av arbeidet vil være " +"ubetydelig. en opplagt forekomsten er tilfelle der individuelle engasjerende " +"i pirating ikke ville ha kjøpt en original selv om pirating var ikke en " +"alternativet. ibid., 149." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Alternatively, we could try to excuse this piracy by noting that in any " +"case, it does no harm to the industry. The Chinese who get access to " +"American CDs at 50 cents a copy are not people who would have bought those " +"American CDs at $15 a copy. So no one really has any less money than they " +"otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is often true (though I have friends who have purchased many thousands " +"of pirated DVDs who certainly have enough money to pay for the content they " +"have taken), and it does mitigate to some degree the harm caused by such " +"taking. Extremists in this debate love to say, \"You wouldn't go into Barnes " +"& Noble and take a book off of the shelf without paying; why should it " +"be any different with on-line music?\" The difference is, of course, that " +"when you take a book from Barnes & Noble, it has one less book to sell. " +"By contrast, when you take an MP3 from a computer network, there is not one " +"less CD that can be sold. The physics of piracy of the intangible are " +"different from the physics of piracy of the tangible." +msgstr "" + +#. PAGE BREAK 78 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This argument is still very weak. However, although copyright is a property " +"right of a very special sort, it is a property right. Like all property " +"rights, the copyright gives the owner the right to decide the terms under " +"which content is shared. If the copyright owner doesn't want to sell, she " +"doesn't have to. There are exceptions: important statutory licenses that " +"apply to copyrighted content regardless of the wish of the copyright owner. " +"Those licenses give people the right to \"take\" copyrighted content whether " +"or not the copyright owner wants to sell. But where the law does not give " +"people the right to take content, it is wrong to take that content even if " +"the wrong does no harm. If we have a property system, and that system is " +"properly balanced to the technology of a time, then it is wrong to take " +"property without the permission of a property owner. That is exactly what " +"\"property\" means." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Finally, we could try to excuse this piracy with the argument that the " +"piracy actually helps the copyright owner. When the Chinese \"steal\" " +"Windows, that makes the Chinese dependent on Microsoft. Microsoft loses the " +"value of the software that was taken. But it gains users who are used to " +"life in the Microsoft world. Over time, as the nation grows more wealthy, " +"more and more people will buy software rather than steal it. And hence over " +"time, because that buying will benefit Microsoft, Microsoft benefits from " +"the piracy. If instead of pirating Microsoft Windows, the Chinese used the " +"free GNU/Linux operating system, then these Chinese users would not " +"eventually be buying Microsoft. Without piracy, then, Microsoft would lose." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This argument, too, is somewhat true. The addiction strategy is a good one. " +"Many businesses practice it. Some thrive because of it. Law students, for " +"example, are given free access to the two largest legal databases. The " +"companies marketing both hope the students will become so used to their " +"service that they will want to use it and not the other when they become " +"lawyers (and must pay high subscription fees)." +msgstr "" +"Dette argumentet er ogsÃ¥, noe sant. avhengighet-strategi er en god en. mange " +"virksomheter praktisere det.. noen trives pÃ¥ grunn av den. Law studenter, " +"for eksempel fÃ¥r du gratis tilgang til de to største juridiske databasene. " +"selskapene markedsføring hÃ¥per begge elevene vil sÃ¥ bli brukt til deres " +"tjeneste som de vil bruke det, og ikke den andre nÃ¥r de blir jurister (og mÃ¥ " +"betale høy abonnementsavgift)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Still, the argument is not terribly persuasive. We don't give the alcoholic " +"a defense when he steals his first beer, merely because that will make it " +"more likely that he will buy the next three. Instead, we ordinarily allow " +"businesses to decide for themselves when it is best to give their product " +"away. If Microsoft fears the competition of GNU/Linux, then Microsoft can " +"give its product away, as it did, for example, with Internet Explorer to " +"fight Netscape. A property right means giving the property owner the right " +"to say who gets access to what--at least ordinarily. And if the law properly " +"balances the rights of the copyright owner with the rights of access, then " +"violating the law is still wrong." +msgstr "" + +#. PAGE BREAK 79 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Thus, while I understand the pull of these justifications for piracy, and I " +"certainly see the motivation, in my view, in the end, these efforts at " +"justifying commercial piracy simply don't cut it. This kind of piracy is " +"rampant and just plain wrong. It doesn't transform the content it steals; it " +"doesn't transform the market it competes in. It merely gives someone access " +"to something that the law says he should not have. Nothing has changed to " +"draw that law into doubt. This form of piracy is flat out wrong." +msgstr "" +"dermed mens jeg forstÃ¥r drar av disse justifications for piratkopiering, og " +"jeg absolutt se motivasjon, etter min mening, til slutt, kuttes disse " +"innsats pÃ¥ rettferdiggjørende kommersielle piratkopiering bare ikke det. " +"Denne typen piratkopiering er frodig og bare ren galt. det forandre ikke " +"innholdet det stjeler; det ikke forandre markedet den konkurrerer i. den " +"bare gir noen tilgang til noe som loven sier han ikke skal ha. ingenting er " +"endret for Ã¥ tegne den lov i tvil. denne formen for piratkopiering er flat " +"ut feil." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But as the examples from the four chapters that introduced this part " +"suggest, even if some piracy is plainly wrong, not all \"piracy\" is. Or at " +"least, not all \"piracy\" is wrong if that term is understood in the way it " +"is increasingly used today. Many kinds of \"piracy\" are useful and " +"productive, to produce either new content or new ways of doing business. " +"Neither our tradition nor any tradition has ever banned all \"piracy\" in " +"that sense of the term." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This doesn't mean that there are no questions raised by the latest piracy " +"concern, peer-to-peer file sharing. But it does mean that we need to " +"understand the harm in peer-to-peer sharing a bit more before we condemn it " +"to the gallows with the charge of piracy." +msgstr "" +"Dette betyr ikke at det er ingen spørsmÃ¥l reist av den nyeste piratkopiering " +"bekymringen, node-til-node-fildeling. men det betyr at vi mÃ¥ forstÃ¥ skade i " +"peer-to-peer deling litt mer før vi fordømmer det til galgen med ansvar for " +"piratkopiering." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"For (1) like the original Hollywood, p2p sharing escapes an overly " +"controlling industry; and (2) like the original recording industry, it " +"simply exploits a new way to distribute content; but (3) unlike cable TV, no " +"one is selling the content that is shared on p2p services." +msgstr "" +"for (1) som den opprinnelige hollywood, p2p fildeling rømming en altfor " +"kontrollerende industrien; og (2) som opprinnelige recording industry, det " +"bare utnytter en ny mÃ¥te Ã¥ distribuere innhold; men det er (3) i motsetning " +"til kabel-tv, ingen selger innholdet som er delt pÃ¥ p2p tjenester." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These differences distinguish p2p sharing from true piracy. They should push " +"us to find a way to protect artists while enabling this sharing to survive." +msgstr "" +"disse forskjellene skille p2p fildeling fra sant piratkopiering. de push oss " +"Ã¥ finne en mÃ¥te Ã¥ beskytte kunstnere samtidig som du gir denne deling til Ã¥ " +"overleve." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Piracy II" +msgstr "piratkopiering ii" + +#. f4 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777)." +msgstr "Bach v. longman, 98 eng. rep 1274 (1777)." + +#. PAGE BREAK 80 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The key to the \"piracy\" that the law aims to quash is a use that \"rob[s] " +"the author of [his] profit.\"<placeholder type=\"footnote\" id=\"0\"/> This " +"means we must determine whether and how much p2p sharing harms before we " +"know how strongly the law should seek to either prevent it or find an " +"alternative to assure the author of his profit." +msgstr "" + +#. f5 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary " +#| "National Bestseller That Changed the Way We Do Business (New York: " +#| "HarperBusiness, 2000). Professor Christensen examines why companies that " +#| "give rise to and dominate a product area are frequently unable to come up " +#| "with the most creative, paradigm-shifting uses for their own products. " +#| "This job usually falls to outside innovators, who reassemble existing " +#| "technology in inventive ways. For a discussion of Christensen's ideas, " +#| "see Lawrence Lessig, Future, 89­92, 139." +msgid "" +"See Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary " +"National Bestseller That Changed the Way We Do Business (New York: " +"HarperBusiness, 2000). Professor Christensen examines why companies that " +"give rise to and dominate a product area are frequently unable to come up " +"with the most creative, paradigm-shifting uses for their own products. This " +"job usually falls to outside innovators, who reassemble existing technology " +"in inventive ways. For a discussion of Christensen's ideas, see Lawrence " +"Lessig, Future, 89­92, 139." +msgstr "" +"se clayton m christensen, nyskapers dilemma: revolusjonerende nasjonale " +"bestselgeren som endret mÃ¥ten vi gjør forretninger (new york: " +"harperbusiness, 2000). professor christensen undersøker hvorfor selskaper " +"som gi opphav til og dominere en ProduktomrÃ¥de er ofte ikke i stand til Ã¥ " +"komme med de mest kreative, paradigmet-skiftende bruksomrÃ¥dene for sine egne " +"produkter. denne jobben faller vanligvis til utenfor innovators, som " +"reassemble eksisterende teknologi pÃ¥ oppfinnsomme mÃ¥ter. for en diskusjon av " +"Christensens ideer, kan du se lawrence lessig, fremtidige, 89­92, 139." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Peer-to-peer sharing was made famous by Napster. But the inventors of the " +"Napster technology had not made any major technological innovations. Like " +"every great advance in innovation on the Internet (and, arguably, off the " +"Internet as well<placeholder type=\"footnote\" id=\"0\"/>), Shawn Fanning " +"and crew had simply put together components that had been developed " +"independently." +msgstr "" + +#. f6 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" San " +"Francisco Chronicle, 24 September 2002, A1; \"Rock 'n' Roll Suicide,\" New " +"Scientist, 6 July 2002, 42; Benny Evangelista, \"Napster Names CEO, Secures " +"New Financing,\" San Francisco Chronicle, 23 May 2003, C1; \"Napster's Wake-" +"Up Call,\" Economist, 24 June 2000, 23; John Naughton, \"Hollywood at War " +"with the Internet\" (London) Times, 26 July 2002, 18." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The result was spontaneous combustion. Launched in July 1999, Napster " +"amassed over 10 million users within nine months. After eighteen months, " +"there were close to 80 million registered users of the system.<placeholder " +"type=\"footnote\" id=\"0\"/> Courts quickly shut Napster down, but other " +"services emerged to take its place. (Kazaa is currently the most popular p2p " +"service. It boasts over 100 million members.) These services' systems are " +"different architecturally, though not very different in function: Each " +"enables users to make content available to any number of other users. With a " +"p2p system, you can share your favorite songs with your best friend-- or " +"your 20,000 best friends." +msgstr "" + +#. f7 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Ipsos-Insight, TEMPO: Keeping Pace with Online Music Distribution " +"(September 2002), reporting that 28 percent of Americans aged twelve and " +"older have downloaded music off of the Internet and 30 percent have listened " +"to digital music files stored on their computers." +msgstr "" +"se ipsos-innsikt, tempo: Ã¥ holde tritt med online musikk distribusjon " +"(september 2002), rapportering som 28 prosent av amerikanere i alderen tolv " +"og eldre har lastet ned musikk fra Internett og 30 prosent har lyttet til " +"digitale musikkfiler som er lagret pÃ¥ datamaskinene sine." + +#. f8 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" New York " +"Times, 6 June 2003, A1." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"According to a number of estimates, a huge proportion of Americans have " +"tasted file-sharing technology. A study by Ipsos-Insight in September 2002 " +"estimated that 60 million Americans had downloaded music--28 percent of " +"Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey " +"by the NPD group quoted in The New York Times estimated that 43 million " +"citizens used file-sharing networks to exchange content in May 2003." +"<placeholder type=\"footnote\" id=\"1\"/> The vast majority of these are not " +"kids. Whatever the actual figure, a massive quantity of content is being " +"\"taken\" on these networks. The ease and inexpensiveness of file-sharing " +"networks have inspired millions to enjoy music in a way that they hadn't " +"before." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Some of this enjoying involves copyright infringement. Some of it does not. " +"And even among the part that is technically copyright infringement, " +"calculating the actual harm to copyright owners is more complicated than one " +"might think. So consider--a bit more carefully than the polarized voices " +"around this debate usually do--the kinds of sharing that file sharing " +"enables, and the kinds of harm it entails." +msgstr "" +"noen av denne nyter innebærer brudd pÃ¥ opphavsrettigheter. noen av det ikke. " +"og selv blant delen som er teknisk brudd pÃ¥ opphavsrettigheter, beregne " +"faktiske skade til opphavsrett eiere er mer komplisert enn man skulle tro. " +"sÃ¥ vurdere--litt mer forsiktig enn polarisert stemmene rundt denne debatten " +"vanligvis gjør--hvilke deler som gir mulighet for fildeling, og hva slags " +"skade det innebærer." + +#. PAGE BREAK 81 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"File sharers share different kinds of content. We can divide these different " +"kinds into four types." +msgstr "" +"fil sharers dele ulike typer innhold. Vi kan dele disse ulike slag i fire " +"typer." + +#. A. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"There are some who use sharing networks as substitutes for purchasing " +"content. Thus, when a new Madonna CD is released, rather than buying the CD, " +"these users simply take it. We might quibble about whether everyone who " +"takes it would actually have bought it if sharing didn't make it available " +"for free. Most probably wouldn't have, but clearly there are some who " +"would. The latter are the target of category A: users who download instead " +"of purchasing." +msgstr "" +"Det er noen som bruker deling nettverk som erstatninger for Ã¥ kjøpe innhold. " +"Derfor, nÃ¥r en ny madonna cd frigis, i stedet for Ã¥ kjøpe cd, disse brukerne " +"bare ta det. Vi kan liten uenighet om om alle som tar det ville faktisk ha " +"kjøpt den hvis deling ikke gjøre den tilgjengelig gratis. mest trolig ikke " +"ville ha, men klart det er noen som ville. sistnevnte er mÃ¥let for kategori " +"a: brukere som laster ned i stedet for Ã¥ kjøpe." + +#. B. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"There are some who use sharing networks to sample music before purchasing " +"it. Thus, a friend sends another friend an MP3 of an artist he's not heard " +"of. The other friend then buys CDs by that artist. This is a kind of " +"targeted advertising, quite likely to succeed. If the friend recommending " +"the album gains nothing from a bad recommendation, then one could expect " +"that the recommendations will actually be quite good. The net effect of this " +"sharing could increase the quantity of music purchased." +msgstr "" +"Det er noen som bruker deling nettverk til Ã¥ sample musikk før du kjøper " +"den. SÃ¥ledes, en venn sender en annen venn en mp3 av kunstner, ikke er han " +"hørt om. andre venn deretter kjøper CDer av at artist. Dette er en slags " +"mÃ¥lrettet annonsering, ganske sannsynlig Ã¥ lykkes. Hvis venn anbefale " +"albumet fÃ¥r noe fra en dÃ¥rlig anbefaling, kan man forvente at anbefalingene " +"vil faktisk være ganske god. netto effekt av en slik deling kan øke antallet " +"av musikk som er kjøpt." + +#. C. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"There are many who use sharing networks to get access to copyrighted content " +"that is no longer sold or that they would not have purchased because the " +"transaction costs off the Net are too high. This use of sharing networks is " +"among the most rewarding for many. Songs that were part of your childhood " +"but have long vanished from the marketplace magically appear again on the " +"network. (One friend told me that when she discovered Napster, she spent a " +"solid weekend \"recalling\" old songs. She was astonished at the range and " +"mix of content that was available.) For content not sold, this is still " +"technically a violation of copyright, though because the copyright owner is " +"not selling the content anymore, the economic harm is zero--the same harm " +"that occurs when I sell my collection of 1960s 45-rpm records to a local " +"collector." +msgstr "" + +#. PAGE BREAK 82 +#. D. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"Finally, there are many who use sharing networks to get access to content " +"that is not copyrighted or that the copyright owner wants to give away." +msgstr "" +"til slutt, det er mange som bruker deling nettverk for Ã¥ fÃ¥ tilgang til " +"innhold som ikke er opphavsrettslig beskyttet, eller at eieren av " +"opphavsretten ønsker Ã¥ gi bort." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "How do these different types of sharing balance out?" +msgstr "hvordan disse ulike typer deling balanse?" + +#. f9 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "See Liebowitz, Rethinking the Network Economy,148­49." +msgid "See Liebowitz, Rethinking the Network Economy,148­49." +msgstr "se liebowitz, rethinking nettverk økonomien, 148­49." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Let's start with some simple but important points. From the perspective of " +"the law, only type D sharing is clearly legal. From the perspective of " +"economics, only type A sharing is clearly harmful.<placeholder type=" +"\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly beneficial. " +"Type C sharing is illegal, yet good for society (since more exposure to " +"music is good) and harmless to the artist (since the work is not otherwise " +"available). So how sharing matters on balance is a hard question to answer--" +"and certainly much more difficult than the current rhetoric around the issue " +"suggests." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Whether on balance sharing is harmful depends importantly on how harmful " +"type A sharing is. Just as Edison complained about Hollywood, composers " +"complained about piano rolls, recording artists complained about radio, and " +"broadcasters complained about cable TV, the music industry complains that " +"type A sharing is a kind of \"theft\" that is \"devastating\" the industry." +msgstr "" + +#. f10 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Cap Gemini Ernst & Young, Technology Evolution and the Music " +#| "Industry's Business Model Crisis (2003), 3. This report describes the " +#| "music industry's effort to stigmatize the budding practice of cassette " +#| "taping in the 1970s, including an advertising campaign featuring a " +#| "cassette-shape skull and the caption \\\"Home taping is killing music.\\" +#| "\" At the time digital audio tape became a threat, the Office of " +#| "Technical Assessment conducted a survey of consumer behavior. In 1988, 40 " +#| "percent of consumers older than ten had taped music to a cassette format. " +#| "U.S. Congress, Office of Technology Assessment, Copyright and Home " +#| "Copying: Technology Challenges the Law, OTA-CIT-422 (Washington, D.C.: U." +#| "S. Government Printing Office, October 1989), 145­56." +msgid "" +"See Cap Gemini Ernst & Young, Technology Evolution and the Music " +"Industry's Business Model Crisis (2003), 3. This report describes the music " +"industry's effort to stigmatize the budding practice of cassette taping in " +"the 1970s, including an advertising campaign featuring a cassette-shape " +"skull and the caption \"Home taping is killing music.\" At the time digital " +"audio tape became a threat, the Office of Technical Assessment conducted a " +"survey of consumer behavior. In 1988, 40 percent of consumers older than ten " +"had taped music to a cassette format. U.S. Congress, Office of Technology " +"Assessment, Copyright and Home Copying: Technology Challenges the Law, OTA-" +"CIT-422 (Washington, D.C.: U.S. Government Printing Office, October 1989), " +"145­56." +msgstr "" +"se cap gemini ernst og unge, teknologiutviklingen og music industriens " +"business modell krisen (2003), 3. Denne rapporten beskriver musikkbransjens " +"innsats for Ã¥ stigmatiserer spirende praksisen med kassett taping pÃ¥ 1970-" +"tallet, inkludert en reklamekampanje med en kassett-figur skull og " +"bildeteksten \\\"hjem taping er Ã¥ drepe musikk.\\\" pÃ¥ tiden digital audio " +"tape ble en trussel, office of tekniske vurdering gjennomført en " +"undersøkelse av forbrukernes adferd. i 1988 hadde 40 prosent av forbrukere " +"som er eldre enn ti tapet musikk til en kassett-format. USA Kongressen, " +"office of technology vurdering, copyright og hjem kopiering: teknologi " +"utfordringer loven, ota-cit-422 (washington, DC: USA Government printing " +"office, oktober 1989), 145­56." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"While the numbers do suggest that sharing is harmful, how harmful is harder " +"to reckon. It has long been the recording industry's practice to blame " +"technology for any drop in sales. The history of cassette recording is a " +"good example. As a study by Cap Gemini Ernst & Young put it, \"Rather " +"than exploiting this new, popular technology, the labels fought it." +"\"<placeholder type=\"footnote\" id=\"0\"/> The labels claimed that every " +"album taped was an album unsold, and when record sales fell by 11.4 percent " +"in 1981, the industry claimed that its point was proved. Technology was the " +"problem, and banning or regulating technology was the answer." +msgstr "" + +#. f11 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "U.S. Congress, Copyright and Home Copying, 4." +msgstr "amerikanske Kongressen, copyright og hjem kopiering, 4." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Yet soon thereafter, and before Congress was given an opportunity to enact " +"regulation, MTV was launched, and the industry had a record turnaround. \"In " +"the end,\" Cap Gemini concludes, \"the `crisis' . . . was not the fault of " +"the tapers--who did not [stop after MTV came into being]--but had to a large " +"extent resulted from stagnation in musical innovation at the major labels." +"\"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But just because the industry was wrong before does not mean it is wrong " +"today. To evaluate the real threat that p2p sharing presents to the industry " +"in particular, and society in general--or at least the society that inherits " +"the tradition that gave us the film industry, the record industry, the radio " +"industry, cable TV, and the VCR--the question is not simply whether type A " +"sharing is harmful. The question is also how harmful type A sharing is, and " +"how beneficial the other types of sharing are." +msgstr "" +"men nettopp fordi industrien var galt før betyr ikke det er galt i dag. Hvis " +"du vil evaluere den virkelige trusselen at p2p fildeling presenterer til " +"industrien spesielt, og samfunnet generelt-- eller minst samfunn som arver " +"tradisjon som ga oss filmindustrien, rullebladet industri, radioen " +"industrien, kabel-tv og vcr--er spørsmÃ¥let ikke bare om en deling er " +"skadelig. spørsmÃ¥let er hvordan skadelige type er ogsÃ¥ en deling, og hvor " +"nyttig de andre typene deling er." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"We start to answer this question by focusing on the net harm, from the " +"standpoint of the industry as a whole, that sharing networks cause. The " +"\"net harm\" to the industry as a whole is the amount by which type A " +"sharing exceeds type B. If the record companies sold more records through " +"sampling than they lost through substitution, then sharing networks would " +"actually benefit music companies on balance. They would therefore have " +"little static reason to resist them." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Could that be true? Could the industry as a whole be gaining because of file " +"sharing? Odd as that might sound, the data about CD sales actually suggest " +"it might be close." +msgstr "" +"kan det være sant? kunne industrien som helhet bli stadig mer pÃ¥ grunn av " +"fildeling? rart som det kan høres, data om cd-salg faktisk tyder det kanskje " +"Lukk." + +#. f12 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Recording Industry Association of America, 2002 Yearend Statistics, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #15</ulink>. " +"A later report indicates even greater losses. See Recording Industry " +"Association of America, Some Facts About Music Piracy, 25 June 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #16</ulink>: " +"\"In the past four years, unit shipments of recorded music have fallen by 26 " +"percent from 1.16 billion units in to 860 million units in 2002 in the " +"United States (based on units shipped). In terms of sales, revenues are " +"down 14 percent, from $14.6 billion in to $12.6 billion last year (based on " +"U.S. dollar value of shipments). The music industry worldwide has gone from " +"a $39 billion industry in 2000 down to a $32 billion industry in 2002 (based " +"on U.S. dollar value of shipments).\"" +msgstr "" + +#. f13 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Jane Black, \"Big Music's Broken Record,\" BusinessWeek online, 13 February " +"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #17</" +"ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 " +"million to 803 million units; revenues fell 6.7 percent.<placeholder type=" +"\"footnote\" id=\"0\"/> This confirms a trend over the past few years. The " +"RIAA blames Internet piracy for the trend, though there are many other " +"causes that could account for this drop. SoundScan, for example, reports a " +"more than 20 percent drop in the number of CDs released since 1999. That no " +"doubt accounts for some of the decrease in sales. Rising prices could " +"account for at least some of the loss. \"From 1999 to 2001, the average " +"price of a CD rose 7.2 percent, from $13.04 to $14.19.\"<placeholder type=" +"\"footnote\" id=\"1\"/> Competition from other forms of media could also " +"account for some of the decline. As Jane Black of BusinessWeek notes, \"The " +"soundtrack to the film High Fidelity has a list price of $18.98. You could " +"get the whole movie [on DVD] for $19.99.\"<placeholder type=\"footnote\" id=" +"\"2\"/>" +msgstr "" + +#. PAGE BREAK 84 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But let's assume the RIAA is right, and all of the decline in CD sales is " +"because of Internet sharing. Here's the rub: In the same period that the " +"RIAA estimates that 803 million CDs were sold, the RIAA estimates that 2.1 " +"billion CDs were downloaded for free. Thus, although 2.6 times the total " +"number of CDs sold were downloaded for free, sales revenue fell by just 6.7 " +"percent." +msgstr "" +"men la oss anta at riaa er rett, og alle nedgangen i cd salg er pÃ¥ grunn av " +"deling av Internett. Her er gni: i samme periode som riaa anslÃ¥r at 803 " +"million CDer ble solgt, riaa anslÃ¥r at 2,1 milliarder CDer ble lastet ned " +"gratis. SÃ¥ledes, selv om 2,6 ganger det totale antallet CDer som selges ble " +"lastet ned gratis, salgsinntekter falt med bare 6.7 prosent." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"There are too many different things happening at the same time to explain " +"these numbers definitively, but one conclusion is unavoidable: The recording " +"industry constantly asks, \"What's the difference between downloading a song " +"and stealing a CD?\"--but their own numbers reveal the difference. If I " +"steal a CD, then there is one less CD to sell. Every taking is a lost sale. " +"But on the basis of the numbers the RIAA provides, it is absolutely clear " +"that the same is not true of downloads. If every download were a lost sale--" +"if every use of Kazaa \"rob[bed] the author of [his] profit\"--then the " +"industry would have suffered a 100 percent drop in sales last year, not a 7 " +"percent drop. If 2.6 times the number of CDs sold were downloaded for free, " +"and yet sales revenue dropped by just 6.7 percent, then there is a huge " +"difference between \"downloading a song and stealing a CD.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These are the harms--alleged and perhaps exaggerated but, let's assume, " +"real. What of the benefits? File sharing may impose costs on the recording " +"industry. What value does it produce in addition to these costs?" +msgstr "" +"disse er skadene--pÃ¥stÃ¥tte og kanskje overdrevet, men la oss anta, real. Hva " +"fordelene? fildeling kan pÃ¥legge kostnader pÃ¥ musikkindustrien. hva verdien " +"produserer det i tillegg til disse kostnadene?" + +#. f15 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"By one estimate, 75 percent of the music released by the major labels is no " +"longer in print. See Online Entertainment and Copyright Law--Coming Soon to " +"a Digital Device Near You: Hearing Before the Senate Committee on the " +"Judiciary, 107th Cong., 1st sess. (3 April 2001) (prepared statement of the " +"Future of Music Coalition), available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #18</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"One benefit is type C sharing--making available content that is technically " +"still under copyright but is no longer commercially available. This is not " +"a small category of content. There are millions of tracks that are no longer " +"commercially available.<placeholder type=\"footnote\" id=\"0\"/> And while " +"it's conceivable that some of this content is not available because the " +"artist producing the content doesn't want it to be made available, the vast " +"majority of it is unavailable solely because the publisher or the " +"distributor has decided it no longer makes economic sense to the company to " +"make it available." +msgstr "" + +#. f16 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"While there are not good estimates of the number of used record stores in " +"existence, in 2002, there were 7,198 used book dealers in the United States, " +"an increase of 20 percent since 1993. See Book Hunter Press, The Quiet " +"Revolution: The Expansion of the Used Book Market (2002), available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records " +"accounted for $260 million in sales in 2002. See National Association of " +"Recording Merchandisers, \"2002 Annual Survey Results,\" available at <ulink " +"url=\"http://free-culture.cc/notes/\">link #20</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In real space--long before the Internet--the market had a simple response to " +"this problem: used book and record stores. There are thousands of used book " +"and used record stores in America today.<placeholder type=\"footnote\" id=" +"\"0\"/> These stores buy content from owners, then sell the content they " +"buy. And under American copyright law, when they buy and sell this content, " +"even if the content is still under copyright, the copyright owner doesn't " +"get a dime. Used book and record stores are commercial entities; their " +"owners make money from the content they sell; but as with cable companies " +"before statutory licensing, they don't have to pay the copyright owner for " +"the content they sell." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Type C sharing, then, is very much like used book stores or used record " +"stores. It is different, of course, because the person making the content " +"available isn't making money from making the content available. It is also " +"different, of course, because in real space, when I sell a record, I don't " +"have it anymore, while in cyberspace, when someone shares my 1949 recording " +"of Bernstein's \"Two Love Songs,\" I still have it. That difference would " +"matter economically if the owner of the copyright were selling the record in " +"competition to my sharing. But we're talking about the class of content that " +"is not currently commercially available. The Internet is making it " +"available, through cooperative sharing, without competing with the market." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"It may well be, all things considered, that it would be better if the " +"copyright owner got something from this trade. But just because it may well " +"be better, it doesn't follow that it would be good to ban used book stores. " +"Or put differently, if you think that type C sharing should be stopped, do " +"you think that libraries and used book stores should be shut as well?" +msgstr "" +"Det kan godt være, alle ting betraktes, at det ville være bedre hvis eieren " +"av opphavsretten fikk noe fra denne handelen. men bare fordi det kan godt " +"være bedre, den følger ikke at det ville være fint Ã¥ forbud brukte " +"bokhandlere. eller sagt pÃ¥ en annen mÃ¥te, hvis du tror at typen c deling bør " +"stoppes, tror du at biblioteker og brukte bokhandlere bør være stengt ogsÃ¥?" + +#. PAGE BREAK 86 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Finally, and perhaps most importantly, file-sharing networks enable type D " +"sharing to occur--the sharing of content that copyright owners want to have " +"shared or for which there is no continuing copyright. This sharing clearly " +"benefits authors and society. Science fiction author Cory Doctorow, for " +"example, released his first novel, Down and Out in the Magic Kingdom, both " +"free on-line and in bookstores on the same day. His (and his publisher's) " +"thinking was that the on-line distribution would be a great advertisement " +"for the \"real\" book. People would read part on-line, and then decide " +"whether they liked the book or not. If they liked it, they would be more " +"likely to buy it. Doctorow's content is type D content. If sharing networks " +"enable his work to be spread, then both he and society are better off. " +"(Actually, much better off: It is a great book!)" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Likewise for work in the public domain: This sharing benefits society with " +"no legal harm to authors at all. If efforts to solve the problem of type A " +"sharing destroy the opportunity for type D sharing, then we lose something " +"important in order to protect type A content." +msgstr "" +"det samme gjelder arbeid i public domain: denne deling fordeler samfunnet " +"med ingen juridiske skade til forfattere i det hele tatt. Hvis innsats for Ã¥ " +"løse problemet med skriver du inn en deling ødelegge muligheten for typen d " +"deling, sÃ¥ vi mister noe viktig for Ã¥ beskytte type en innhold." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The point throughout is this: While the recording industry understandably " +"says, \"This is how much we've lost,\" we must also ask, \"How much has " +"society gained from p2p sharing? What are the efficiencies? What is the " +"content that otherwise would be unavailable?\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"For unlike the piracy I described in the first section of this chapter, much " +"of the \"piracy\" that file sharing enables is plainly legal and good. And " +"like the piracy I described in chapter 4, much of this piracy is motivated " +"by a new way of spreading content caused by changes in the technology of " +"distribution. Thus, consistent with the tradition that gave us Hollywood, " +"radio, the recording industry, and cable TV, the question we should be " +"asking about file sharing is how best to preserve its benefits while " +"minimizing (to the extent possible) the wrongful harm it causes artists. The " +"question is one of balance. The law should seek that balance, and that " +"balance will be found only with time." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"\"But isn't the war just a war against illegal sharing? Isn't the target " +"just what you call type A sharing?\"" +msgstr "" + +#. f17 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 " +"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an " +"account of the litigation and its toll on Napster, see Joseph Menn, All the " +"Rave: The Rise and Fall of Shawn Fanning's Napster (New York: Crown " +"Business, 2003), 269­82." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"You would think. And we should hope. But so far, it is not. The effect of " +"the war purportedly on type A sharing alone has been felt far beyond that " +"one class of sharing. That much is obvious from the Napster case itself. " +"When Napster told the district court that it had developed a technology to " +"block the transfer of 99.4 percent of identified infringing material, the " +"district court told counsel for Napster 99.4 percent was not good enough. " +"Napster had to push the infringements \"down to zero.\"<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"If 99.4 percent is not good enough, then this is a war on file-sharing " +"technologies, not a war on copyright infringement. There is no way to assure " +"that a p2p system is used 100 percent of the time in compliance with the " +"law, any more than there is a way to assure that 100 percent of VCRs or 100 " +"percent of Xerox machines or 100 percent of handguns are used in compliance " +"with the law. Zero tolerance means zero p2p. The court's ruling means that " +"we as a society must lose the benefits of p2p, even for the totally legal " +"and beneficial uses they serve, simply to assure that there are zero " +"copyright infringements caused by p2p." +msgstr "" +"Hvis 99.4 prosent er ikke god nok, sÃ¥ dette er en krig mot fildelings-" +"teknologier, ikke en krig mot brudd pÃ¥ opphavsrettigheter. Det er ingen mÃ¥te " +"Ã¥ sikre at en p2p-systemet er brukt 100 prosent av tiden i samsvar med " +"loven, noe mer enn det er en mÃ¥te Ã¥ sikre at 100 prosent av videospillere " +"eller 100 prosent av xerox maskiner eller 100 prosent av hÃ¥ndvÃ¥pen brukes i " +"overensstemmelse med loven. nulltoleranse betyr null p2p. EFTA-domstolens " +"avgjørelse betyr at vi som et samfunn mÃ¥ miste fordelene med p2p, selv for " +"den helt lovlig og fordelaktig bruker de tjener bare for Ã¥ sikre at det er " +"null opphavsrett infringements forÃ¥rsaket av p2p." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Zero tolerance has not been our history. It has not produced the content " +"industry that we know today. The history of American law has been a process " +"of balance. As new technologies changed the way content was distributed, the " +"law adjusted, after some time, to the new technology. In this adjustment, " +"the law sought to ensure the legitimate rights of creators while protecting " +"innovation. Sometimes this has meant more rights for creators. Sometimes " +"less." +msgstr "" +"Nulltoleranse er ikke vÃ¥r historie. Det har ikke produsert innhold bransjen " +"som vi kjenner i dag. historien til amerikansk lov har vært en prosess av " +"balanse. som ny teknologi endret mÃ¥ten innhold ble distribuert, loven " +"justert, etter en stund, til ny teknologi. i denne justeringen søkt loven Ã¥ " +"sikre legitime rettighetene til skapere samtidig beskytte innovasjon. noen " +"ganger har dette betydde mer rettigheter for skapere. noen ganger mindre." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"So, as we've seen, when \"mechanical reproduction\" threatened the interests " +"of composers, Congress balanced the rights of composers against the " +"interests of the recording industry. It granted rights to composers, but " +"also to the recording artists: Composers were to be paid, but at a price set " +"by Congress. But when radio started broadcasting the recordings made by " +"these recording artists, and they complained to Congress that their " +"\"creative property\" was not being respected (since the radio station did " +"not have to pay them for the creativity it broadcast), Congress rejected " +"their claim. An indirect benefit was enough." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Cable TV followed the pattern of record albums. When the courts rejected the " +"claim that cable broadcasters had to pay for the content they rebroadcast, " +"Congress responded by giving broadcasters a right to compensation, but at a " +"level set by the law. It likewise gave cable companies the right to the " +"content, so long as they paid the statutory price." +msgstr "" +"kabel-tv fulgt mønster av posten album. NÃ¥r domstolene avvist kravet som " +"kabel-TV-stasjoner mÃ¥tte betale for innholdet de rebroadcast, Kongressen " +"reagert ved Ã¥ gi broadcasters erstatningsplikt, men pÃ¥ et nivÃ¥ som er angitt " +"av loven. den likeledes ga kabelselskaper rettigheten til innholdet, sÃ¥ " +"lenge de betalte lovbestemte pris." + +#. PAGE BREAK 88 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This compromise, like the compromise affecting records and player pianos, " +"served two important goals--indeed, the two central goals of any copyright " +"legislation. First, the law assured that new innovators would have the " +"freedom to develop new ways to deliver content. Second, the law assured " +"that copyright holders would be paid for the content that was distributed. " +"One fear was that if Congress simply required cable TV to pay copyright " +"holders whatever they demanded for their content, then copyright holders " +"associated with broadcasters would use their power to stifle this new " +"technology, cable. But if Congress had permitted cable to use broadcasters' " +"content for free, then it would have unfairly subsidized cable. Thus " +"Congress chose a path that would assure compensation without giving the past " +"(broadcasters) control over the future (cable)." +msgstr "" +"denne sÃ¥rbarheten, som kompromiss som pÃ¥virker poster og spilleren pianoer, " +"servert to viktige mÃ¥l--faktisk to sentrale mÃ¥lene noen opphavsrett " +"lovgivning. først, loven forsikret at nye innovators ville ha frihet til Ã¥ " +"utvikle nye mÃ¥ter Ã¥ levere innhold. sekund, loven forsikret at innehaver av " +"opphavsrett ville bli betalt for innholdet som ble distribuert. en frykt var " +"at hvis Kongressen kreves bare kabel-tv til Ã¥ betale innehaver av " +"opphavsrett hva de krevde for innholdet, og deretter rettighetshavere som er " +"tilknyttet broadcasters ville bruke sin makt for Ã¥ undertrykke denne nye " +"teknologien, kabel. men hvis Kongressen hadde tillatt kabelen til bruk " +"broadcasters' innhold gratis, ville det ha urettferdig subsidierte kabel. " +"Dermed Kongressen valgte en bane som ville forsikre kompensasjon uten Ã¥ gi " +"siste (broadcasters) kontroll over fremtiden (kabel)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In the same year that Congress struck this balance, two major producers and " +"distributors of film content filed a lawsuit against another technology, the " +"video tape recorder (VTR, or as we refer to them today, VCRs) that Sony had " +"produced, the Betamax. Disney's and Universal's claim against Sony was " +"relatively simple: Sony produced a device, Disney and Universal claimed, " +"that enabled consumers to engage in copyright infringement. Because the " +"device that Sony built had a \"record\" button, the device could be used to " +"record copyrighted movies and shows. Sony was therefore benefiting from the " +"copyright infringement of its customers. It should therefore, Disney and " +"Universal claimed, be partially liable for that infringement." +msgstr "" + +#. PAGE BREAK 89 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"There was something to Disney's and Universal's claim. Sony did decide to " +"design its machine to make it very simple to record television shows. It " +"could have built the machine to block or inhibit any direct copying from a " +"television broadcast. Or possibly, it could have built the machine to copy " +"only if there were a special \"copy me\" signal on the line. It was clear " +"that there were many television shows that did not grant anyone permission " +"to copy. Indeed, if anyone had asked, no doubt the majority of shows would " +"not have authorized copying. And in the face of this obvious preference, " +"Sony could have designed its system to minimize the opportunity for " +"copyright infringement. It did not, and for that, Disney and Universal " +"wanted to hold it responsible for the architecture it chose." +msgstr "" + +#. f18 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Copyright Infringements (Audio and Video Recorders): Hearing on S. 1758 " +"Before the Senate Committee on the Judiciary, 97th Cong., 1st and 2nd sess., " +"459 (1982) (testimony of Jack Valenti, president, Motion Picture Association " +"of America, Inc.)." +msgstr "" +"opphavsrett infringements (lyd og video-opptakere): høre s. 1758 før Senatet " +"committee pÃ¥ rettsvesenet, 97th cong., 1st og 2nd sess., 459 (1982) " +"(vitnesbyrd om jack valenti, president, motion picture association of " +"america, inc.)." + +#. f19 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "Copyright Infringements (Audio and Video Recorders), 475." +msgstr "opphavsrett infringements (lyd og video-opptakere), 475." + +#. f20 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Universal City Studios, Inc. v. Sony Corp. of America, 480 F. Supp. 429, (C." +"D. Cal., 1979)." +msgstr "" +"Universal city studios, inc. v. sony Corporation of america, 480 f. supp. " +"429, (klientadgangslisens CAL (CD), 1979)." + +#. f21 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack " +"Valenti)." +msgstr "" +"opphavsrett infringements (lyd og video-opptakere), 485 (vitnesbyrd om jack " +"valenti)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"MPAA president Jack Valenti became the studios' most vocal champion. Valenti " +"called VCRs \"tapeworms.\" He warned, \"When there are 20, 30, 40 million of " +"these VCRs in the land, we will be invaded by millions of `tapeworms,' " +"eating away at the very heart and essence of the most precious asset the " +"copyright owner has, his copyright.\"<placeholder type=\"footnote\" id=\"0\"/" +"> \"One does not have to be trained in sophisticated marketing and creative " +"judgment,\" he told Congress, \"to understand the devastation on the after-" +"theater marketplace caused by the hundreds of millions of tapings that will " +"adversely impact on the future of the creative community in this country. It " +"is simply a question of basic economics and plain common sense." +"\"<placeholder type=\"footnote\" id=\"1\"/> Indeed, as surveys would later " +"show, percent of VCR owners had movie libraries of ten videos or " +"more<placeholder type=\"footnote\" id=\"2\"/> --a use the Court would later " +"hold was not \"fair.\" By \"allowing VCR owners to copy freely by the means " +"of an exemption from copyright infringement without creating a mechanism to " +"compensate copyright owners,\" Valenti testified, Congress would \"take from " +"the owners the very essence of their property: the exclusive right to " +"control who may use their work, that is, who may copy it and thereby profit " +"from its reproduction.\"<placeholder type=\"footnote\" id=\"3\"/>" +msgstr "" + +#. f22 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Universal City Studios, Inc. v. Sony Corp. of America, 659 F. 2d 963 (9th " +"Cir. 1981)." +msgstr "" +"Universal city studios, inc. v. sony Corporation of america, 659 f. 2d 963 " +"(9 cir. 1981)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"It took eight years for this case to be resolved by the Supreme Court. In " +"the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in " +"its jurisdiction--leading Judge Alex Kozinski, who sits on that court, " +"refers to it as the \"Hollywood Circuit\"--held that Sony would be liable " +"for the copyright infringement made possible by its machines. Under the " +"Ninth Circuit's rule, this totally familiar technology--which Jack Valenti " +"had called \"the Boston Strangler of the American film industry\" (worse " +"yet, it was a Japanese Boston Strangler of the American film industry)--was " +"an illegal technology.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 90 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But the Supreme Court reversed the decision of the Ninth Circuit. And in " +"its reversal, the Court clearly articulated its understanding of when and " +"whether courts should intervene in such disputes. As the Court wrote," +msgstr "" +"men Høyesterett reversert beslutning niende circuit. og i sin reversering, " +"domstolen klart uttrykte sin forstÃ¥else av nÃ¥r og om domstoler bør " +"intervenere i slike konflikter. som domstol skrev," + +#. f23 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, 431 " +"(1984)." +msgstr "" +"Sony Corporation of america v. universal city studios, inc., 464 amerikanske " +"417, 431 (1984)." + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"Sound policy, as well as history, supports our consistent deference to " +"Congress when major technological innovations alter the market for " +"copyrighted materials. Congress has the constitutional authority and the " +"institutional ability to accommodate fully the varied permutations of " +"competing interests that are inevitably implicated by such new technology." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Congress was asked to respond to the Supreme Court's decision. But as with " +"the plea of recording artists about radio broadcasts, Congress ignored the " +"request. Congress was convinced that American film got enough, this \"taking" +"\" notwithstanding. If we put these cases together, a pattern is clear:" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><table><title> +msgid "Table" +msgstr "tabell" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry> +msgid "CASE" +msgstr "tilfelle" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry> +msgid "WHOSE VALUE WAS \"PIRATED\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry> +msgid "RESPONSE OF THE COURTS" +msgstr "Svar til domstolene" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry> +msgid "RESPONSE OF CONGRESS" +msgstr "Responsen til Kongressen" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Recordings" +msgstr "innspillinger" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Composers" +msgstr "komponister" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "No protection" +msgstr "ingen beskyttelse" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Statutory license" +msgstr "lovbestemte lisens" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Recording artists" +msgstr "artister" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "N/A" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Nothing" +msgstr "ingenting" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Broadcasters" +msgstr "TV-stasjoner" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "VCR" +msgstr "VCR" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Film creators" +msgstr "filmen skaperne" + +#. f24 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "These are the most important instances in our history, but there are " +#| "other cases as well. The technology of digital audio tape (DAT), for " +#| "example, was regulated by Congress to minimize the risk of piracy. The " +#| "remedy Congress imposed did burden DAT producers, by taxing tape sales " +#| "and controlling the technology of DAT. See Audio Home Recording Act of " +#| "1992 (Title 17 of the United States Code), Pub. L. No. 102-563, 106 " +#| "Stat. 4237, codified at 17 U.S.C. §1001. Again, however, this regulation " +#| "did not eliminate the opportunity for free riding in the sense I've " +#| "described. See Lessig, Future, 71. See also Picker, \\\"From Edison to " +#| "the Broadcast Flag,\\\" University of Chicago Law Review 70 (2003): 293­96." +msgid "" +"These are the most important instances in our history, but there are other " +"cases as well. The technology of digital audio tape (DAT), for example, was " +"regulated by Congress to minimize the risk of piracy. The remedy Congress " +"imposed did burden DAT producers, by taxing tape sales and controlling the " +"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the " +"United States Code), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U." +"S.C. §1001. Again, however, this regulation did not eliminate the " +"opportunity for free riding in the sense I've described. See Lessig, Future, " +"71. See also Picker, \"From Edison to the Broadcast Flag,\" University of " +"Chicago Law Review 70 (2003): 293­96." +msgstr "" +"disse er de viktigste forekomstene i vÃ¥r historie, men det finnes andre " +"tilfeller ogsÃ¥. teknologi for digital audio tape (dat), for eksempel var " +"regulert av Kongressen for Ã¥ minimere risikoen for piratkopiering. " +"rettsmiddel Kongressen pÃ¥lagt belaster dat produsenter, taxing bÃ¥nd salg og " +"kontrollere teknologien for dat. ser lyd Hjem innspillingen act av 1992 " +"(tittel 17 av USA-koden), pub. l. nr. 102-563, 106 stat. 4237, kodifisert pÃ¥ " +"17 USC §1001. igjen, men denne forskriften ikke eliminere muligheten gratis " +"ridning i den forstand jeg har beskrevet. se lessig, fremtidige, 71. Se ogsÃ¥ " +"datovelger, \\\"fra edison til flagget kringkasting,\\\" university of " +"chicago lov gjennomgÃ¥ 70 (2003): 293­96." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In each case throughout our history, a new technology changed the way " +"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each " +"case, throughout our history, that change meant that someone got a \"free " +"ride\" on someone else's work." +msgstr "" + +#. PAGE BREAK 91 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In none of these cases did either the courts or Congress eliminate all free " +"riding. In none of these cases did the courts or Congress insist that the " +"law should assure that the copyright holder get all the value that his " +"copyright created. In every case, the copyright owners complained of " +"\"piracy.\" In every case, Congress acted to recognize some of the " +"legitimacy in the behavior of the \"pirates.\" In each case, Congress " +"allowed some new technology to benefit from content made before. It balanced " +"the interests at stake." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"When you think across these examples, and the other examples that make up " +"the first four chapters of this section, this balance makes sense. Was Walt " +"Disney a pirate? Would doujinshi be better if creators had to ask " +"permission? Should tools that enable others to capture and spread images as " +"a way to cultivate or criticize our culture be better regulated? Is it " +"really right that building a search engine should expose you to $15 million " +"in damages? Would it have been better if Edison had controlled film? Should " +"every cover band have to hire a lawyer to get permission to record a song?" +msgstr "" +"NÃ¥r du tenker pÃ¥ tvers av disse eksemplene, og den andre eksempler som " +"utgjør de fire første kapitlene av denne delen, vil denne balansen er " +"fornuftig. var walt disney en pirat? doujinshi ville være bedre hvis " +"skaperne mÃ¥tte be om tillatelse? bør verktøy slik at andre Ã¥ fange og spre " +"bildene som en mÃ¥te Ã¥ dyrke eller kritisere vÃ¥r kultur reguleres bedre? er " +"det virkelig sant at bygge en søkemotor skal utsette deg til $15 millioner i " +"skader? ville det ha vært bedre hvis edison hadde kontrollert filmen? bør " +"hver cover band som har til Ã¥ ansette en advokat for Ã¥ fÃ¥ tillatelse til Ã¥ " +"registrere en sang?" + +#. f25 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, (1984)." +msgstr "" +"Sony Corporation of america v. universal city studios, inc., 464 amerikanske " +"417, (1984)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"We could answer yes to each of these questions, but our tradition has " +"answered no. In our tradition, as the Supreme Court has stated, copyright " +"\"has never accorded the copyright owner complete control over all possible " +"uses of his work.\"<placeholder type=\"footnote\" id=\"0\"/> Instead, the " +"particular uses that the law regulates have been defined by balancing the " +"good that comes from granting an exclusive right against the burdens such an " +"exclusive right creates. And this balancing has historically been done after " +"a technology has matured, or settled into the mix of technologies that " +"facilitate the distribution of content." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"We should be doing the same thing today. The technology of the Internet is " +"changing quickly. The way people connect to the Internet (wires vs. " +"wireless) is changing very quickly. No doubt the network should not become a " +"tool for \"stealing\" from artists. But neither should the law become a tool " +"to entrench one particular way in which artists (or more accurately, " +"distributors) get paid. As I describe in some detail in the last chapter of " +"this book, we should be securing income to artists while we allow the market " +"to secure the most efficient way to promote and distribute content. This " +"will require changes in the law, at least in the interim. These changes " +"should be designed to balance the protection of the law against the strong " +"public interest that innovation continue." +msgstr "" + +#. f26 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"John Schwartz, \"New Economy: The Attack on Peer-to-Peer Software Echoes " +"Past Efforts,\" New York Times, 22 September 2003, C3." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is especially true when a new technology enables a vastly superior mode " +"of distribution. And this p2p has done. P2p technologies can be ideally " +"efficient in moving content across a widely diverse network. Left to " +"develop, they could make the network vastly more efficient. Yet these " +"\"potential public benefits,\" as John Schwartz writes in The New York " +"Times, \"could be delayed in the P2P fight.\"<placeholder type=\"footnote\" " +"id=\"0\"/> Yet when anyone begins to talk about \"balance,\" the copyright " +"warriors raise a different argument. \"All this hand waving about balance " +"and incentives,\" they say, \"misses a fundamental point. Our content,\" the " +"warriors insist, \"is our property. Why should we wait for Congress to " +"`rebalance' our property rights? Do you have to wait before calling the " +"police when your car has been stolen? And why should Congress deliberate at " +"all about the merits of this theft? Do we ask whether the car thief had a " +"good use for the car before we arrest him?\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"\"It is our property,\" the warriors insist. \"And it should be protected " +"just as any other property is protected.\"" +msgstr "" + +#. type: Content of: <book><chapter><title> +msgid "\"PROPERTY\"" +msgstr "" + +#. PAGE BREAK 94 +#. type: Content of: <book><chapter><para> +msgid "" +"The copyright warriors are right: A copyright is a kind of property. It can " +"be owned and sold, and the law protects against its theft. Ordinarily, the " +"copyright owner gets to hold out for any price he wants. Markets reckon the " +"supply and demand that partially determine the price she can get." +msgstr "" +"opphavsrett warriors er rett: opphavsretten er en type bolig. Det kan være " +"eid og solgt, og loven beskytter mot sin tyveri. vanligvis fÃ¥r eieren av " +"opphavsretten til Ã¥ holde for noen pris som han ønsker. markeder regner " +"tilbud og etterspørsel som delvis bestemmer prisen hun kan fÃ¥." + +#. type: Content of: <book><chapter><para> +msgid "" +"But in ordinary language, to call a copyright a \"property\" right is a bit " +"misleading, for the property of copyright is an odd kind of property. " +"Indeed, the very idea of property in any idea or any expression is very odd. " +"I understand what I am taking when I take the picnic table you put in your " +"backyard. I am taking a thing, the picnic table, and after I take it, you " +"don't have it. But what am I taking when I take the good idea you had to put " +"a picnic table in the backyard--by, for example, going to Sears, buying a " +"table, and putting it in my backyard? What is the thing I am taking then?" +msgstr "" + +#. f1 +#. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in The " +#| "Writings of Thomas Jefferson, vol. 6 (Andrew A. Lipscomb and Albert " +#| "Ellery Bergh, eds., 1903), 330, 333­34." +msgid "" +"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in The " +"Writings of Thomas Jefferson, vol. 6 (Andrew A. Lipscomb and Albert Ellery " +"Bergh, eds., 1903), 330, 333­34." +msgstr "" +"brev fra thomas jefferson til isaac mcpherson (13 august 1813) i skrifter av " +"thomas jefferson, vol. 6 (andrew a. lipscomb og albert ellery bergh, Red., " +"1903), 330, 333­34." + +#. type: Content of: <book><chapter><para> +msgid "" +"The point is not just about the thingness of picnic tables versus ideas, " +"though that's an important difference. The point instead is that in the " +"ordinary case--indeed, in practically every case except for a narrow range " +"of exceptions--ideas released to the world are free. I don't take anything " +"from you when I copy the way you dress--though I might seem weird if I did " +"it every day, and especially weird if you are a woman. Instead, as Thomas " +"Jefferson said (and as is especially true when I copy the way someone else " +"dresses), \"He who receives an idea from me, receives instruction himself " +"without lessening mine; as he who lights his taper at mine, receives light " +"without darkening me.\"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"The exceptions to free use are ideas and expressions within the reach of the " +"law of patent and copyright, and a few other domains that I won't discuss " +"here. Here the law says you can't take my idea or expression without my " +"permission: The law turns the intangible into property." +msgstr "" +"unntakene til fri bruk er ideer og uttrykk innenfor rekkevidden av loven om " +"patent og opphavsrett, og noen andre domener som jeg ikke diskutere her. Her " +"loven sier du ikke kan ta min ide eller uttrykk uten min tillatelse: loven " +"blir immaterielle eiendom." + +#. f2 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"As the legal realists taught American law, all property rights are " +"intangible. A property right is simply a right that an individual has " +"against the world to do or not do certain things that may or may not attach " +"to a physical object. The right itself is intangible, even if the object to " +"which it is (metaphorically) attached is tangible. See Adam Mossoff, \"What " +"Is Property? Putting the Pieces Back Together,\" Arizona Law Review 45 " +"(2003): 373, 429 n. 241." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"But how, and to what extent, and in what form--the details, in other words--" +"matter. To get a good sense of how this practice of turning the intangible " +"into property emerged, we need to place this \"property\" in its proper " +"context.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"My strategy in doing this will be the same as my strategy in the preceding " +"part. I offer four stories to help put the idea of \"copyright material is " +"property\" in context. Where did the idea come from? What are its limits? " +"How does it function in practice? After these stories, the significance of " +"this true statement--\"copyright material is property\"-- will be a bit more " +"clear, and its implications will be revealed as quite different from the " +"implications that the copyright warriors would have us draw." +msgstr "" + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER SIX: Founders" +msgstr "kapittel seks: grunnleggerne" + +#. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "William Shakespeare wrote Romeo and Juliet in 1595. The play was first " +#| "published in 1597. It was the eleventh major play that Shakespeare had " +#| "written. He would continue to write plays through 1613, and the plays " +#| "that he wrote have continued to define Anglo-American culture ever since. " +#| "So deeply have the works of a sixteenth-century writer seeped into our " +#| "culture that we often don't even recognize their source. I once " +#| "overheard someone commenting on Kenneth Branagh's adaptation of Henry V: " +#| "\\\"I liked it, but Shakespeare is so full of clichés.\\\"" +msgid "" +"William Shakespeare wrote Romeo and Juliet in 1595. The play was first " +"published in 1597. It was the eleventh major play that Shakespeare had " +"written. He would continue to write plays through 1613, and the plays that " +"he wrote have continued to define Anglo-American culture ever since. So " +"deeply have the works of a sixteenth-century writer seeped into our culture " +"that we often don't even recognize their source. I once overheard someone " +"commenting on Kenneth Branagh's adaptation of Henry V: \"I liked it, but " +"Shakespeare is so full of clichés.\"" +msgstr "" +"William shakespeare skrev romeo og Julie i 1595. Skuespillet ble først " +"utgitt i 1597. Det var ellevte store spill at shakespeare hadde skrevet. han " +"ville fortsette Ã¥ skrive skuespill gjennom 1613, og spiller som skrev han " +"har fortsatt Ã¥ definere angloamerikanske kultur siden. sÃ¥ dypt har verk av " +"1500-tallet forfatter seeped inn i vÃ¥r kultur at vi ofte ikke engang kjenner " +"kilden. Jeg overheard en gang noen kommentere kenneth branagh tilpasning av " +"henry v: \\\"Jeg likte det, men shakespeare er sÃ¥ full av clichés.\\\"" + +#. f1 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Jacob Tonson is typically remembered for his associations with prominent " +#| "eighteenth-century literary figures, especially John Dryden, and for his " +#| "handsome \\\"definitive editions\\\" of classic works. In addition to " +#| "Romeo and Juliet, he published an astonishing array of works that still " +#| "remain at the heart of the English canon, including collected works of " +#| "Shakespeare, Ben Jonson, John Milton, and John Dryden. See Keith Walker, " +#| "\\\"Jacob Tonson, Bookseller,\\\" American Scholar 61:3 (1992): 424­31." +msgid "" +"Jacob Tonson is typically remembered for his associations with prominent " +"eighteenth-century literary figures, especially John Dryden, and for his " +"handsome \"definitive editions\" of classic works. In addition to Romeo and " +"Juliet, he published an astonishing array of works that still remain at the " +"heart of the English canon, including collected works of Shakespeare, Ben " +"Jonson, John Milton, and John Dryden. See Keith Walker, \"Jacob Tonson, " +"Bookseller,\" American Scholar 61:3 (1992): 424­31." +msgstr "" +"Jacob tonson er vanligvis husket for hans assosiasjoner med fremtredende " +"1700-tallet litterære figurer, spesielt john dryden, og for hans kjekk \\" +"\"endelige versjoner\\\" av klassiske verk. i tillegg til romeo og Julie, " +"utga en utrolig rekke fungerer som fortsatt er igjen i hjertet av den " +"engelske canon, inkludert collected works Shakespeare, ben jonson, john " +"milton, og john dryden. se Pioquinto Bernal Pioquinto Bernal, \\\"jacob " +"tonson, bokhandel,\\\" amerikansk forsker-61:3 (1992): 424­31." + +#. f2 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: " +#| "Vanderbilt University Press, 1968), 151­52." +msgid "" +"Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: " +"Vanderbilt University Press, 1968), 151­52." +msgstr "" +"Lyman rokke patterson, copyright i historisk perspektiv (nashville: " +"vanderbilt university press, 1968), 151­52." + +#. PAGE BREAK 97 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In 1774, almost 180 years after Romeo and Juliet was written, the \"copy-" +"right\" for the work was still thought by many to be the exclusive right of " +"a single London publisher, Jacob Tonson.<placeholder type=\"footnote\" id=" +"\"0\"/> Tonson was the most prominent of a small group of publishers called " +"the Conger<placeholder type=\"footnote\" id=\"1\"/> who controlled " +"bookselling in England during the eighteenth century. The Conger claimed a " +"perpetual right to control the \"copy\" of books that they had acquired from " +"authors. That perpetual right meant that no one else could publish copies of " +"a book to which they held the copyright. Prices of the classics were thus " +"kept high; competition to produce better or cheaper editions was eliminated." +msgstr "" + +#. f3 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"As Siva Vaidhyanathan nicely argues, it is erroneous to call this a " +"\"copyright law.\" See Vaidhyanathan, Copyrights and Copywrongs, 40." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Now, there's something puzzling about the year 1774 to anyone who knows a " +"little about copyright law. The better-known year in the history of " +"copyright is 1710, the year that the British Parliament adopted the first " +"\"copyright\" act. Known as the Statute of Anne, the act stated that all " +"published works would get a copyright term of fourteen years, renewable once " +"if the author was alive, and that all works already published by 1710 would " +"get a single term of twenty-one additional years.<placeholder type=\"footnote" +"\" id=\"0\"/> Under this law, Romeo and Juliet should have been free in " +"1731. So why was there any issue about it still being under Tonson's control " +"in 1774?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The reason is that the English hadn't yet agreed on what a \"copyright\" " +"was--indeed, no one had. At the time the English passed the Statute of Anne, " +"there was no other legislation governing copyrights. The last law " +"regulating publishers, the Licensing Act of 1662, had expired in 1695. That " +"law gave publishers a monopoly over publishing, as a way to make it easier " +"for the Crown to control what was published. But after it expired, there " +"was no positive law that said that the publishers, or \"Stationers,\" had an " +"exclusive right to print books." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"There was no positive law, but that didn't mean that there was no law. The " +"Anglo-American legal tradition looks to both the words of legislatures and " +"the words of judges to know the rules that are to govern how people are to " +"behave. We call the words from legislatures \"positive law.\" We call the " +"words from judges \"common law.\" The common law sets the background against " +"which legislatures legislate; the legislature, ordinarily, can trump that " +"background only if it passes a law to displace it. And so the real question " +"after the licensing statutes had expired was whether the common law " +"protected a copyright, independent of any positive law." +msgstr "" + +#. PAGE BREAK 98 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This question was important to the publishers, or \"booksellers,\" as they " +"were called, because there was growing competition from foreign publishers. " +"The Scottish, in particular, were increasingly publishing and exporting " +"books to England. That competition reduced the profits of the Conger, which " +"reacted by demanding that Parliament pass a law to again give them exclusive " +"control over publishing. That demand ultimately resulted in the Statute of " +"Anne." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Statute of Anne granted the author or \"proprietor\" of a book an " +"exclusive right to print that book. In an important limitation, however, and " +"to the horror of the booksellers, the law gave the bookseller that right for " +"a limited term. At the end of that term, the copyright \"expired,\" and the " +"work would then be free and could be published by anyone. Or so the " +"legislature is thought to have believed." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Now, the thing to puzzle about for a moment is this: Why would Parliament " +"limit the exclusive right? Not why would they limit it to the particular " +"limit they set, but why would they limit the right at all?" +msgstr "" +"nÃ¥, tingen Ã¥ puzzle om et øyeblikk er dette: Hvorfor ville parlamentet " +"begrense eneretten? ikke hvorfor ville de begrenser den til den bestemte " +"limit de satt, men hvorfor ville begrense retten til alle?" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"For the booksellers, and the authors whom they represented, had a very " +"strong claim. Take Romeo and Juliet as an example: That play was written by " +"Shakespeare. It was his genius that brought it into the world. He didn't " +"take anybody's property when he created this play (that's a controversial " +"claim, but never mind), and by his creating this play, he didn't make it any " +"harder for others to craft a play. So why is it that the law would ever " +"allow someone else to come along and take Shakespeare's play without his, or " +"his estate's, permission? What reason is there to allow someone else to " +"\"steal\" Shakespeare's work?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The answer comes in two parts. We first need to see something special about " +"the notion of \"copyright\" that existed at the time of the Statute of Anne. " +"Second, we have to see something important about \"booksellers.\"" +msgstr "" + +#. PAGE BREAK 99 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"First, about copyright. In the last three hundred years, we have come to " +"apply the concept of \"copyright\" ever more broadly. But in 1710, it wasn't " +"so much a concept as it was a very particular right. The copyright was born " +"as a very specific set of restrictions: It forbade others from reprinting a " +"book. In 1710, the \"copy-right\" was a right to use a particular machine to " +"replicate a particular work. It did not go beyond that very narrow right. It " +"did not control any more generally how a work could be used. Today the right " +"includes a large collection of restrictions on the freedom of others: It " +"grants the author the exclusive right to copy, the exclusive right to " +"distribute, the exclusive right to perform, and so on." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"So, for example, even if the copyright to Shakespeare's works were " +"perpetual, all that would have meant under the original meaning of the term " +"was that no one could reprint Shakespeare's work without the permission of " +"the Shakespeare estate. It would not have controlled anything, for example, " +"about how the work could be performed, whether the work could be translated, " +"or whether Kenneth Branagh would be allowed to make his films. The \"copy-" +"right\" was only an exclusive right to print--no less, of course, but also " +"no more." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Even that limited right was viewed with skepticism by the British. They had " +"had a long and ugly experience with \"exclusive rights,\" especially " +"\"exclusive rights\" granted by the Crown. The English had fought a civil " +"war in part about the Crown's practice of handing out monopolies--especially " +"monopolies for works that already existed. King Henry VIII granted a patent " +"to print the Bible and a monopoly to Darcy to print playing cards. The " +"English Parliament began to fight back against this power of the Crown. In " +"1656, it passed the Statute of Monopolies, limiting monopolies to patents " +"for new inventions. And by 1710, Parliament was eager to deal with the " +"growing monopoly in publishing." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Thus the \"copy-right,\" when viewed as a monopoly right, was naturally " +"viewed as a right that should be limited. (However convincing the claim that " +"\"it's my property, and I should have it forever,\" try sounding convincing " +"when uttering, \"It's my monopoly, and I should have it forever.\") The " +"state would protect the exclusive right, but only so long as it benefited " +"society. The British saw the harms from specialinterest favors; they passed " +"a law to stop them." +msgstr "" + +#. f4 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Philip Wittenberg, The Protection and Marketing of Literary Property (New " +"York: J. Messner, Inc., 1937), 31." +msgstr "" +"Philip wittenberg, beskyttelse og markedsføring av litterære egenskapen (new " +"york: j. messner, inc., 1937), 31." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Second, about booksellers. It wasn't just that the copyright was a monopoly. " +"It was also that it was a monopoly held by the booksellers. Booksellers " +"sound quaint and harmless to us. They were not viewed as harmless in " +"seventeenth-century England. Members of the Conger were increasingly seen as " +"monopolists of the worst kind--tools of the Crown's repression, selling the " +"liberty of England to guarantee themselves a monopoly profit. The attacks " +"against these monopolists were harsh: Milton described them as \"old " +"patentees and monopolizers in the trade of book-selling\"; they were \"men " +"who do not therefore labour in an honest profession to which learning is " +"indetted.\"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Many believed the power the booksellers exercised over the spread of " +"knowledge was harming that spread, just at the time the Enlightenment was " +"teaching the importance of education and knowledge spread generally. The " +"idea that knowledge should be free was a hallmark of the time, and these " +"powerful commercial interests were interfering with that idea." +msgstr "" +"mange trodde makt bokhandlerne utøves over spredning av kunnskap var skade " +"som spres, bare pÃ¥ tidspunktet opplysning var lærer betydningen av utdanning " +"og kunnskap spre generelt. ideen at kunnskap bør være gratis var et " +"kjennetegn pÃ¥ tiden, og disse kraftige kommersielle interesser var " +"forstyrrer at ideen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"To balance this power, Parliament decided to increase competition among " +"booksellers, and the simplest way to do that was to spread the wealth of " +"valuable books. Parliament therefore limited the term of copyrights, and " +"thereby guaranteed that valuable books would become open to any publisher to " +"publish after a limited time. Thus the setting of the term for existing " +"works to just twenty-one years was a compromise to fight the power of the " +"booksellers. The limitation on terms was an indirect way to assure " +"competition among publishers, and thus the construction and spread of " +"culture." +msgstr "" +"for Ã¥ balansere denne kraften, Riksdag besluttet Ã¥ øke konkurransen blant " +"bokhandlere, og den enkleste mÃ¥ten Ã¥ gjøre det var Ã¥ spre rikdom av " +"verdifulle bøker. parlamentet derfor begrenset begrepet av opphavsretten, og " +"garantert dermed at verdifulle bøker skulle bli Ã¥pen for noen utgiver Ã¥ " +"publisere etter en begrenset tid. innstillingen av begrepet for eksisterende " +"arbeider til bare tjueen Ã¥r ble dermed et kompromiss Ã¥ kjempe kraften i " +"bokhandlerne. begrensning av vilkÃ¥rene var en indirekte mÃ¥te Ã¥ forsikre " +"konkurranse mellom utgivere, og dermed konstruksjon og spredning av kultur." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When 1731 (1710 + 21) came along, however, the booksellers were getting " +"anxious. They saw the consequences of more competition, and like every " +"competitor, they didn't like them. At first booksellers simply ignored the " +"Statute of Anne, continuing to insist on the perpetual right to control " +"publication. But in 1735 and 1737, they tried to persuade Parliament to " +"extend their terms. Twenty-one years was not enough, they said; they needed " +"more time." +msgstr "" +"NÃ¥r 1731 (1710-21) kom, men fÃ¥r bokhandlerne engstelig. de sÃ¥ konsekvensene " +"av mer konkurranse, og som hver konkurrent, de liker ikke dem. pÃ¥ første " +"bokhandlere ganske enkelt ignorert Vedtektene for anne, fortsetter Ã¥ " +"insistere pÃ¥ evigvarende rett til Ã¥ kontrollere publikasjonen. men i 1735 og " +"1737, de prøvde Ã¥ overbevise parlamentet til Ã¥ utvide sine vilkÃ¥r. tjueen Ã¥r " +"var ikke nok, de sa; de trengte mer tid." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Parliament rejected their requests. As one pamphleteer put it, in words that " +"echo today," +msgstr "" +"parlamentet avviste forespørsler. som en pamphleteer sa, i ord som echo i " +"dag," + +#. f5 +#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para> +msgid "" +"A Letter to a Member of Parliament concerning the Bill now depending in the " +"House of Commons, for making more effectual an Act in the Eighth Year of the " +"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " +"Vesting the Copies of Printed Books in the Authors or Purchasers of such " +"Copies, during the Times therein mentioned (London, 1735), in Brief Amici " +"Curiae of Tyler T. Ochoa et al., 8, Eldred v. Ashcroft, 537 U.S. 186 (2003) " +"(No. 01-618)." +msgstr "" +"et brev til medlem av parlamentet om bill nÃ¥ avhengig i house of commons, " +"for Ã¥ gjøre mer vid en handling i den Ã¥ttende Ã¥r av regimet til dronning " +"anne, rett, en handling for oppmuntring av læring, ved Ã¥ samle kopier av " +"skrives ut bøker i forfatterne eller kjøpere av slike Kopier, under tidene " +"nevnt der (london1735), kort gikk curiae av tyler t. ochoa et al., 8, eldred " +"v. ashcroft, 537 amerikanske 186 (2003) (nr 01-618)." + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"I see no Reason for granting a further Term now, which will not hold as well " +"for granting it again and again, as often as the Old ones Expire; so that " +"should this Bill pass, it will in Effect be establishing a perpetual " +"Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a " +"great Cramp to Trade, a Discouragement to Learning, no Benefit to the " +"Authors, but a general Tax on the Publick; and all this only to increase the " +"private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Having failed in Parliament, the publishers turned to the courts in a series " +"of cases. Their argument was simple and direct: The Statute of Anne gave " +"authors certain protections through positive law, but those protections were " +"not intended as replacements for the common law. Instead, they were " +"intended simply to supplement the common law. Under common law, it was " +"already wrong to take another person's creative \"property\" and use it " +"without his permission. The Statute of Anne, the booksellers argued, didn't " +"change that. Therefore, just because the protections of the Statute of Anne " +"expired, that didn't mean the protections of the common law expired: Under " +"the common law they had the right to ban the publication of a book, even if " +"its Statute of Anne copyright had expired. This, they argued, was the only " +"way to protect authors." +msgstr "" + +#. f6 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Lyman Ray Patterson, \\\"Free Speech, Copyright, and Fair Use,\\\" " +#| "Vanderbilt Law Review 40 (1987): 28. For a wonderfully compelling " +#| "account, see Vaidhyanathan, 37­48." +msgid "" +"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt " +"Law Review 40 (1987): 28. For a wonderfully compelling account, see " +"Vaidhyanathan, 37­48." +msgstr "" +"Lyman rokke patterson, \\\"ytringsfriheten, opphavsrett, og rettferdig bruk\\" +"\" vanderbilt lov gÃ¥ gjennom 40 (1987): 28. for en fantastisk overbevisende-" +"konto, kan du se vaidhyanathan, 37­48." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This was a clever argument, and one that had the support of some of the " +"leading jurists of the day. It also displayed extraordinary chutzpah. Until " +"then, as law professor Raymond Patterson has put it, \"The publishers . . . " +"had as much concern for authors as a cattle rancher has for cattle." +"\"<placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care squat " +"for the rights of the author. His concern was the monopoly profit that the " +"author's work gave." +msgstr "" + +#. f7 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "For a compelling account, see David Saunders, Authorship and Copyright " +#| "(London: Routledge, 1992), 62­69." +msgid "" +"For a compelling account, see David Saunders, Authorship and Copyright " +"(London: Routledge, 1992), 62­69." +msgstr "" +"Hvis en overbevisende-konto, kan du se david saunders, forfatterskap og " +"opphavsrett (london: routledge, 1992), 62­69." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The booksellers' argument was not accepted without a fight. The hero of " +"this fight was a Scottish bookseller named Alexander Donaldson.<placeholder " +"type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f8 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Mark Rose, Authors and Owners (Cambridge: Harvard University Press, 1993), " +"92." +msgstr "" +"merke rose, forfattere og eiere (cambridge: harvard university press, 1993), " +"92." + +#. f9 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "Ibid., 93." +msgstr "ibid., 93." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Donaldson was an outsider to the London Conger. He began his career in " +"Edinburgh in 1750. The focus of his business was inexpensive reprints \"of " +"standard works whose copyright term had expired,\" at least under the " +"Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> Donaldson's " +"publishing house prospered and became \"something of a center for literary " +"Scotsmen.\" \"[A]mong them,\" Professor Mark Rose writes, was \"the young " +"James Boswell who, together with his friend Andrew Erskine, published an " +"anthology of contemporary Scottish poems with Donaldson.\"<placeholder type=" +"\"footnote\" id=\"1\"/>" +msgstr "" + +#. f10 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting " +"Borwell)." +msgstr "" +"Lyman rokke patterson, copyright i historisk perspektiv, 167 (sitere " +"borwell)." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When the London booksellers tried to shut down Donaldson's shop in Scotland, " +"he responded by moving his shop to London, where he sold inexpensive " +"editions \"of the most popular English books, in defiance of the supposed " +"common law right of Literary Property.\"<placeholder type=\"footnote\" id=" +"\"0\"/> His books undercut the Conger prices by 30 to 50 percent, and he " +"rested his right to compete upon the ground that, under the Statute of Anne, " +"the works he was selling had passed out of protection." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The London booksellers quickly brought suit to block \"piracy\" like " +"Donaldson's. A number of actions were successful against the \"pirates,\" " +"the most important early victory being Millar v. Taylor." +msgstr "" + +#. f11 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " +"Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): " +"1152." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Millar was a bookseller who in 1729 had purchased the rights to James " +"Thomson's poem \"The Seasons.\" Millar complied with the requirements of the " +"Statute of Anne, and therefore received the full protection of the statute. " +"After the term of copyright ended, Robert Taylor began printing a competing " +"volume. Millar sued, claiming a perpetual common law right, the Statute of " +"Anne notwithstanding.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Astonishingly to modern lawyers, one of the greatest judges in English " +"history, Lord Mansfield, agreed with the booksellers. Whatever protection " +"the Statute of Anne gave booksellers, it did not, he held, extinguish any " +"common law right. The question was whether the common law would protect the " +"author against subsequent \"pirates.\" Mansfield's answer was yes: The " +"common law would bar Taylor from reprinting Thomson's poem without Millar's " +"permission. That common law rule thus effectively gave the booksellers a " +"perpetual right to control the publication of any book assigned to them." +msgstr "" + +#. PAGE BREAK 103 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Considered as a matter of abstract justice--reasoning as if justice were " +"just a matter of logical deduction from first principles--Mansfield's " +"conclusion might make some sense. But what it ignored was the larger issue " +"that Parliament had struggled with in 1710: How best to limit the monopoly " +"power of publishers? Parliament's strategy was to offer a term for existing " +"works that was long enough to buy peace in 1710, but short enough to assure " +"that culture would pass into competition within a reasonable period of time. " +"Within twenty-one years, Parliament believed, Britain would mature from the " +"controlled culture that the Crown coveted to the free culture that we " +"inherited." +msgstr "" +"regnet som et spørsmÃ¥l om abstrakt rettferdighet--resonnement som om " +"rettferdighet var bare et spørsmÃ¥l om logiske fradrag fra første prinsipper--" +"mansfield's konklusjon kan gjøre noen følelse. men hva den ignorert var " +"større problemet parlamentet hadde slitt med i 1710: hvordan man best kan " +"begrense monopol makt utgivere? parlamentets strategi var Ã¥ tilby en frist " +"for eksisterende verk som var lang nok til Ã¥ kjøpe fred i 1710, men kort nok " +"til Ã¥ sikre at kultur ville passere inn i konkurransen innen en rimelig " +"tidsperiode. innen tjueen Ã¥r, parlamentet trodd, Storbritannia ville modne " +"fra den kontrollerte kulturen som kronen tatt til gratis kultur som vi har " +"arvet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The fight to defend the limits of the Statute of Anne was not to end there, " +"however, and it is here that Donaldson enters the mix." +msgstr "" +"kampen for Ã¥ forsvare grensene for Vedtektene for anne var ikke Ã¥ avslutte " +"der, og det er her at donaldson gÃ¥r inn i mix." + +#. f12 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "Ibid., 1156." +msgstr "ibid., 1156." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Millar died soon after his victory, so his case was not appealed. His estate " +"sold Thomson's poems to a syndicate of printers that included Thomas Beckett." +"<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an " +"unauthorized edition of Thomson's works. Beckett, on the strength of the " +"decision in Millar, got an injunction against Donaldson. Donaldson appealed " +"the case to the House of Lords, which functioned much like our own Supreme " +"Court. In February of 1774, that body had the chance to interpret the " +"meaning of Parliament's limits from sixty years before." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As few legal cases ever do, Donaldson v. Beckett drew an enormous amount of " +"attention throughout Britain. Donaldson's lawyers argued that whatever " +"rights may have existed under the common law, the Statute of Anne terminated " +"those rights. After passage of the Statute of Anne, the only legal " +"protection for an exclusive right to control publication came from that " +"statute. Thus, they argued, after the term specified in the Statute of Anne " +"expired, works that had been protected by the statute were no longer " +"protected." +msgstr "" +"som noen juridiske tilfeller noensinne gjør, trakk donaldson v. beckett en " +"enorm mengde oppmerksomhet i hele Storbritannia. donaldson's advokater " +"hevdet at uansett rettigheter kan ha vært der under felles lov, Vedtektene " +"for anne avsluttet disse rettighetene. etter passering av Vedtektene for " +"anne kom bare juridiske beskyttelse for en eksklusiv rett til Ã¥ kontrollere " +"publikasjonen fra at vedtekt. SÃ¥ledes, de hevdet, etter at begrepet angitt i " +"Vedtektene for anne utløpt, fungerer som hadde vært beskyttet av Vedtektene " +"var ikke lenger beskyttet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The House of Lords was an odd institution. Legal questions were presented to " +"the House and voted upon first by the \"law lords,\" members of special " +"legal distinction who functioned much like the Justices in our Supreme " +"Court. Then, after the law lords voted, the House of Lords generally voted." +msgstr "" + +#. PAGE BREAK 104 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The reports about the law lords' votes are mixed. On some counts, it looks " +"as if perpetual copyright prevailed. But there is no ambiguity about how the " +"House of Lords voted as whole. By a two-to-one majority (22 to 11) they " +"voted to reject the idea of perpetual copyrights. Whatever one's " +"understanding of the common law, now a copyright was fixed for a limited " +"time, after which the work protected by copyright passed into the public " +"domain." +msgstr "" +"rapporter om loven lords' stemmer er blandet. pÃ¥ enkelte punkter, det ser ut " +"som om evigvarende copyright prevailed. men det er ingen tvetydighet om " +"hvordan house of lords stemte som helhet. med en to-til-en-flertall (22 til " +"11) stemte de for Ã¥ avvise ideen om evigvarende opphavsrettigheter. Hva en " +"forstÃ¥else av sedvanerett, nÃ¥ en copyright ble løst i en begrenset periode, " +"hvoretter arbeidet beskyttet av opphavsrett sendes til public domain." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"The public domain.\" Before the case of Donaldson v. Beckett, there was no " +"clear idea of a public domain in England. Before 1774, there was a strong " +"argument that common law copyrights were perpetual. After 1774, the public " +"domain was born. For the first time in Anglo-American history, the legal " +"control over creative works expired, and the greatest works in English " +"history--including those of Shakespeare, Bacon, Milton, Johnson, and Bunyan--" +"were free of legal restraint." +msgstr "" + +#. f13 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "Rose, 97." +msgstr "Rose, 97." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It is hard for us to imagine, but this decision by the House of Lords fueled " +"an extraordinarily popular and political reaction. In Scotland, where most " +"of the \"pirate publishers\" did their work, people celebrated the decision " +"in the streets. As the Edinburgh Advertiser reported, \"No private cause has " +"so much engrossed the attention of the public, and none has been tried " +"before the House of Lords in the decision of which so many individuals were " +"interested.\" \"Great rejoicing in Edinburgh upon victory over literary " +"property: bonfires and illuminations.\"<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In London, however, at least among publishers, the reaction was equally " +"strong in the opposite direction. The Morning Chronicle reported:" +msgstr "" +"i london, men var minst blant utgivere, reaksjonen like sterke i motsatt " +"retning. den morgen krøniken rapportert:" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"By the above decision . . . near 200,000 pounds worth of what was honestly " +"purchased at public sale, and which was yesterday thought property is now " +"reduced to nothing. The Booksellers of London and Westminster, many of whom " +"sold estates and houses to purchase Copy-right, are in a manner ruined, and " +"those who after many years industry thought they had acquired a competency " +"to provide for their families now find themselves without a shilling to " +"devise to their successors.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 105 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Ruined\" is a bit of an exaggeration. But it is not an exaggeration to say " +"that the change was profound. The decision of the House of Lords meant that " +"the booksellers could no longer control how culture in England would grow " +"and develop. Culture in England was thereafter free. Not in the sense that " +"copyrights would not be respected, for of course, for a limited time after a " +"work was published, the bookseller had an exclusive right to control the " +"publication of that book. And not in the sense that books could be stolen, " +"for even after a copyright expired, you still had to buy the book from " +"someone. But free in the sense that the culture and its growth would no " +"longer be controlled by a small group of publishers. As every free market " +"does, this free market of free culture would grow as the consumers and " +"producers chose. English culture would develop as the many English readers " +"chose to let it develop-- chose in the books they bought and wrote; chose in " +"the memes they repeated and endorsed. Chose in a competitive context, not a " +"context in which the choices about what culture is available to people and " +"how they get access to it are made by the few despite the wishes of the many." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"At least, this was the rule in a world where the Parliament is antimonopoly, " +"resistant to the protectionist pleas of publishers. In a world where the " +"Parliament is more pliant, free culture would be less protected." +msgstr "" +"Dette var minst, regelen i en verden der parlamentet er antimonopoly, " +"motstandsdyktig mot protectionist pleas av utgivere. i en verden der " +"parlamentet er mer pliant, ville fri kultur være mindre beskyttet." + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER SEVEN: Recorders" +msgstr "Kapittel 7: opptakere" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Jon Else is a filmmaker. He is best known for his documentaries and has been " +"very successful in spreading his art. He is also a teacher, and as a teacher " +"myself, I envy the loyalty and admiration that his students feel for him. (I " +"met, by accident, two of his students at a dinner party. He was their god.)" +msgstr "" +"Jon annet er en filmskaper. Han er best kjent for sin dokumentarer og har " +"vært svært vellykket i Ã¥ spre sin kunst. Han er ogsÃ¥ en lærer, og som lærer " +"meg selv, jeg misunner lojalitet og beundring at hans elever føler seg for " +"ham. (jeg møtte, ved et uhell, to av hans studenter ved et middagsselskap. " +"Han var deres Gud)." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Else worked on a documentary that I was involved in. At a break, he told me " +"a story about the freedom to create with film in America today." +msgstr "" +"Ellers arbeidet pÃ¥ en dokumentar som jeg var involvert i. pÃ¥ en pause, han " +"fortalte meg en historie om frihet Ã¥ opprette med film i Amerika i dag." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In 1990, Else was working on a documentary about Wagner's Ring Cycle. The " +"focus was stagehands at the San Francisco Opera. Stagehands are a " +"particularly funny and colorful element of an opera. During a show, they " +"hang out below the stage in the grips' lounge and in the lighting loft. They " +"make a perfect contrast to the art on the stage." +msgstr "" +"i 1990, ellers arbeidet pÃ¥ en dokumentar om wagner's ring syklus. fokus var " +"stagehands ved san francisco opera. stagehands er et spesielt morsom og " +"fargerike element i en opera. under fremvisningen henger de nedenfor scenen " +"i fatt lounge og i loft belysning. de gjør en perfekt kontrast til kunst pÃ¥ " +"scenen." + +#. PAGE BREAK 107 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"During one of the performances, Else was shooting some stagehands playing " +"checkers. In one corner of the room was a television set. Playing on the " +"television set, while the stagehands played checkers and the opera company " +"played Wagner, was The Simpsons. As Else judged it, this touch of cartoon " +"helped capture the flavor of what was special about the scene." +msgstr "" +"under en av forestillinger, var ellers skyting noen stagehands spille " +"brikker. i et hjørne av rommet var en TV-apparatet. spille pÃ¥ TV-apparatet, " +"mens stagehands spilte brikker og opera selskapet spilte wagner, var " +"simpsons. som andre dømt det denne touch tegneserie hjalp fangst smaken av " +"det som var spesielt med scenen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Years later, when he finally got funding to complete the film, Else " +"attempted to clear the rights for those few seconds of The Simpsons. For of " +"course, those few seconds are copyrighted; and of course, to use copyrighted " +"material you need the permission of the copyright owner, unless \"fair use\" " +"or some other privilege applies." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Else called Simpsons creator Matt Groening's office to get permission. " +"Groening approved the shot. The shot was a four-and-a-halfsecond image on a " +"tiny television set in the corner of the room. How could it hurt? Groening " +"was happy to have it in the film, but he told Else to contact Gracie Films, " +"the company that produces the program." +msgstr "" +"annet kalt simpsons skaperen matt groening's kontor for Ã¥ fÃ¥ tillatelse. " +"Groening godkjent skutt. skjøt var en fire og en halfsecond-bilde pÃ¥ en " +"liten TV satt i hjørnet av rommet. Hvordan kan det vondt? Groening var glade " +"for Ã¥ ha det i filmen, men han fortalt annet for Ã¥ kontakte gracie films, " +"firmaet som lager programmet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Gracie Films was okay with it, too, but they, like Groening, wanted to be " +"careful. So they told Else to contact Fox, Gracie's parent company. Else " +"called Fox and told them about the clip in the corner of the one room shot " +"of the film. Matt Groening had already given permission, Else said. He was " +"just confirming the permission with Fox." +msgstr "" +"Gracie films var bra med den, ogsÃ¥, men de, som groening, ønsket Ã¥ være " +"forsiktig. sÃ¥ de fortalte andre for Ã¥ kontakte fox, gracie's morselskapet. " +"annet kalt fox og fortalte dem om klippet i hjørnet av ett rom skutt av " +"filmen. Matt groening hadde allerede gitt tillatelse, andre sier. Han var " +"bare bekrefte tillatelsen med fox." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Then, as Else told me, \"two things happened. First we discovered . . . that " +"Matt Groening doesn't own his own creation--or at least that someone [at " +"Fox] believes he doesn't own his own creation.\" And second, Fox \"wanted " +"ten thousand dollars as a licensing fee for us to use this four-point-five " +"seconds of . . . entirely unsolicited Simpsons which was in the corner of " +"the shot.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Else was certain there was a mistake. He worked his way up to someone he " +"thought was a vice president for licensing, Rebecca Herrera. He explained " +"to her, \"There must be some mistake here. . . . We're asking for your " +"educational rate on this.\" That was the educational rate, Herrera told " +"Else. A day or so later, Else called again to confirm what he had been told." +msgstr "" + +#. PAGE BREAK 108 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"I wanted to make sure I had my facts straight,\" he told me. \"Yes, you " +"have your facts straight,\" she said. It would cost $10,000 to use the clip " +"of The Simpsons in the corner of a shot in a documentary film about Wagner's " +"Ring Cycle. And then, astonishingly, Herrera told Else, \"And if you quote " +"me, I'll turn you over to our attorneys.\" As an assistant to Herrera told " +"Else later on, \"They don't give a shit. They just want the money.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Else didn't have the money to buy the right to replay what was playing on " +"the television backstage at the San Francisco Opera. To reproduce this " +"reality was beyond the documentary filmmaker's budget. At the very last " +"minute before the film was to be released, Else digitally replaced the shot " +"with a clip from another film that he had worked on, The Day After Trinity, " +"from ten years before." +msgstr "" +"ellers har ikke penger til Ã¥ kjøpe retten til Ã¥ spille hva spilte pÃ¥ TV " +"backstage ved san francisco opera. Hvis du vil gjenskape denne virkeligheten " +"var utenfor den dokumentar filmskaper budsjett. i svært siste øyeblikk før " +"filmen var Ã¥ bli befridd, erstattet ellers digitalt skutt med et utklipp fra " +"en annen film som han hadde jobbet pÃ¥, dagen etter trinity, fra ti Ã¥r før." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"There's no doubt that someone, whether Matt Groening or Fox, owns the " +"copyright to The Simpsons. That copyright is their property. To use that " +"copyrighted material thus sometimes requires the permission of the copyright " +"owner. If the use that Else wanted to make of the Simpsons copyright were " +"one of the uses restricted by the law, then he would need to get the " +"permission of the copyright owner before he could use the work in that way. " +"And in a free market, it is the owner of the copyright who gets to set the " +"price for any use that the law says the owner gets to control." +msgstr "" +"Det er ingen tvil om at noen om matt groening eller fox, eier opphavsretten " +"til simpsons. at opphavsretten er deres eiendom. for Ã¥ bruke at " +"opphavsrettsbeskyttet materiale sÃ¥ledes noen ganger krever tillatelse fra " +"eieren av opphavsretten. Hvis Bruk som ellers ville være av simpsons " +"opphavsrett var en av de bruker begrenset av loven, ville han trenger Ã¥ fÃ¥ " +"tillatelse fra eieren av opphavsretten før han kunne bruke arbeidet pÃ¥ den " +"mÃ¥ten. og i et fritt marked, det er eieren av opphavsretten hvem som kan " +"angi pris for bruk som loven sier eieren fÃ¥r kontroll." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"For example, \"public performance\" is a use of The Simpsons that the " +"copyright owner gets to control. If you take a selection of favorite " +"episodes, rent a movie theater, and charge for tickets to come see \"My " +"Favorite Simpsons,\" then you need to get permission from the copyright " +"owner. And the copyright owner (rightly, in my view) can charge whatever she " +"wants--$10 or $1,000,000. That's her right, as set by the law." +msgstr "" + +#. f1 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"For an excellent argument that such use is \"fair use,\" but that lawyers " +"don't permit recognition that it is \"fair use,\" see Richard A. Posner with " +"William F. Patry, \"Fair Use and Statutory Reform in the Wake of Eldred " +"\" (draft on file with author), University of Chicago Law School, 5 August " +"2003." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But when lawyers hear this story about Jon Else and Fox, their first thought " +"is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's use of just " +"4.5 seconds of an indirect shot of a Simpsons episode is clearly a fair use " +"of The Simpsons--and fair use does not require the permission of anyone." +msgstr "" + +#. PAGE BREAK 109 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"So I asked Else why he didn't just rely upon \"fair use.\" Here's his reply:" +msgstr "" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"The Simpsons fiasco was for me a great lesson in the gulf between what " +"lawyers find irrelevant in some abstract sense, and what is crushingly " +"relevant in practice to those of us actually trying to make and broadcast " +"documentaries. I never had any doubt that it was \"clearly fair use\" in an " +"absolute legal sense. But I couldn't rely on the concept in any concrete " +"way. Here's why:" +msgstr "" + +#. 1. +#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para> +msgid "" +"Before our films can be broadcast, the network requires that we buy Errors " +"and Omissions insurance. The carriers require a detailed \"visual cue sheet" +"\" listing the source and licensing status of each shot in the film. They " +"take a dim view of \"fair use,\" and a claim of \"fair use\" can grind the " +"application process to a halt." +msgstr "" + +#. 2. +#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para> +msgid "" +"I probably never should have asked Matt Groening in the first place. But I " +"knew (at least from folklore) that Fox had a history of tracking down and " +"stopping unlicensed Simpsons usage, just as George Lucas had a very high " +"profile litigating Star Wars usage. So I decided to play by the book, " +"thinking that we would be granted free or cheap license to four seconds of " +"Simpsons. As a documentary producer working to exhaustion on a shoestring, " +"the last thing I wanted was to risk legal trouble, even nuisance legal " +"trouble, and even to defend a principle." +msgstr "" +"Jeg skulle trolig aldri ha spurt matt groening i utgangspunktet. men jeg " +"visste (minst fra folklore) at fox hadde en historie for Ã¥ spore ned og " +"stopper ulisensiert simpsons-bruk, akkurat som george lucas hadde en meget " +"høy profil prosedere star wars-bruk. sÃ¥ jeg besluttet Ã¥ spille av boken, " +"tenker at vi ville bli gitt gratis eller Billige lisens til fire sekunder av " +"simpsons. som en dokumentar produsent arbeider til utmattelse pÃ¥ en " +"shoestring, var den siste tingen jeg ønsket Ã¥ risikere juridiske problemer, " +"selv ordensforstyrrelser juridiske problemer, og selv for Ã¥ forsvare et " +"prinsipp." + +#. 3. +#. PAGE BREAK 110 +#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para> +msgid "" +"I did, in fact, speak with one of your colleagues at Stanford Law " +"School . . . who confirmed that it was fair use. He also confirmed that Fox " +"would \"depose and litigate you to within an inch of your life,\" regardless " +"of the merits of my claim. He made clear that it would boil down to who had " +"the bigger legal department and the deeper pockets, me or them." +msgstr "" + +#. 4. +#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para> +msgid "" +"The question of fair use usually comes up at the end of the project, when we " +"are up against a release deadline and out of money." +msgstr "" +"spørsmÃ¥let om rettferdig bruk kommer vanligvis pÃ¥ slutten av prosjektet, nÃ¥r " +"vi er opp mot en release frist og tom for penger." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In theory, fair use means you need no permission. The theory therefore " +"supports free culture and insulates against a permission culture. But in " +"practice, fair use functions very differently. The fuzzy lines of the law, " +"tied to the extraordinary liability if lines are crossed, means that the " +"effective fair use for many types of creators is slight. The law has the " +"right aim; practice has defeated the aim." +msgstr "" +"i teorien betyr fair use du trenger ingen tillatelse. teorien derfor støtter " +"fri kultur og isolerer mot en tillatelse kultur. men i praksis, rettferdig " +"bruk funksjonene veldig annerledes. krusete linjene av loven, knyttet til " +"det ekstraordinære ansvaret Hvis linjer er krysset, betyr at effektiv " +"rettferdig bruk for mange typer skaperne er liten. loven har høyre mÃ¥l; " +"praksis har beseiret mÃ¥let." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This practice shows just how far the law has come from its eighteenth-" +"century roots. The law was born as a shield to protect publishers' profits " +"against the unfair competition of a pirate. It has matured into a sword that " +"interferes with any use, transformative or not." +msgstr "" +"denne øvelsen viser bare hvor langt loven har kommet fra sine 1700-tallet " +"røtter. loven ble født som et skjold for Ã¥ beskytte utgivere fortjeneste mot " +"urettferdig konkurranse av en pirat. Det har modnet til et sverd som " +"forstyrrer bruke transformative eller ikke." + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER EIGHT: Transformers" +msgstr "Kapittel Ã¥tte: transformatorer" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In 1993, Alex Alben was a lawyer working at Starwave, Inc. Starwave was an " +"innovative company founded by Microsoft cofounder Paul Allen to develop " +"digital entertainment. Long before the Internet became popular, Starwave " +"began investing in new technology for delivering entertainment in " +"anticipation of the power of networks." +msgstr "" +"i 1993 var alex alben en advokat som jobber pÃ¥ starwave, inc. starwave var " +"en nyskapende selskap grunnlagt av microsoft cofounder paul allen Ã¥ utvikle " +"digital underholdning. lenge før Internett ble populært, begynte starwave Ã¥ " +"investere i ny teknologi for Ã¥ levere underholdning i pÃ¥vente av the power " +"of networks." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Alben had a special interest in new technology. He was intrigued by the " +"emerging market for CD-ROM technology--not to distribute film, but to do " +"things with film that otherwise would be very difficult. In 1993, he " +"launched an initiative to develop a product to build retrospectives on the " +"work of particular actors. The first actor chosen was Clint Eastwood. The " +"idea was to showcase all of the work of Eastwood, with clips from his films " +"and interviews with figures important to his career." +msgstr "" +"Alben hadde en spesiell interesse i ny teknologi. Han var fascinert av det " +"voksende markedet for CD-ROM-teknologi--ikke Ã¥ distribuere film, men Ã¥ gjøre " +"ting med film som ellers ville være svært vanskelig. i 1993 lanserte han et " +"initiativ for Ã¥ utvikle et produkt for Ã¥ bygge retrospectives pÃ¥ arbeidet " +"til bestemt aktører. den første skuespilleren valgt var clint eastwood. " +"ideen var Ã¥ presentere alt arbeidet av eastwood, med klipp fra hans filmer " +"og intervjuer med tallene viktig til sin karriere." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"At that time, Eastwood had made more than fifty films, as an actor and as a " +"director. Alben began with a series of interviews with Eastwood, asking him " +"about his career. Because Starwave produced those interviews, it was free to " +"include them on the CD." +msgstr "" +"pÃ¥ den tiden, hadde eastwood gjort mer enn femti filmer, som skuespiller og " +"som styremedlem. Alben begynte med en rekke intervjuer med eastwood, ber ham " +"om hans karriere. fordi starwave produsert de intervjuene, var det gratis Ã¥ " +"inkludere dem pÃ¥ CD-ROMen." + +#. PAGE BREAK 112 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"That alone would not have made a very interesting product, so Starwave " +"wanted to add content from the movies in Eastwood's career: posters, " +"scripts, and other material relating to the films Eastwood made. Most of his " +"career was spent at Warner Brothers, and so it was relatively easy to get " +"permission for that content." +msgstr "" +"som alene ville ikke ha gjort en meget interessant produkt, sÃ¥ starwave " +"ønsket Ã¥ legge til innhold fra filmer i Eastwoods karriere: plakater, skript " +"og annet materiale som er knyttet til filmer eastwood gjort. de fleste av " +"sin karriere ble brukt pÃ¥ warner brothers, og sÃ¥ var det relativt lett Ã¥ fÃ¥ " +"tillatelse for innholdet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Then Alben and his team decided to include actual film clips. \"Our goal was " +"that we were going to have a clip from every one of Eastwood's films,\" " +"Alben told me. It was here that the problem arose. \"No one had ever really " +"done this before,\" Alben explained. \"No one had ever tried to do this in " +"the context of an artistic look at an actor's career.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, " +"\"Well, what will it take?\"" +msgstr "" + +#. f1 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Technically, the rights that Alben had to clear were mainly those of " +"publicity--rights an artist has to control the commercial exploitation of " +"his image. But these rights, too, burden \"Rip, Mix, Burn\" creativity, as " +"this chapter evinces." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Alben replied, \"Well, we're going to have to clear rights from everyone who " +"appears in these films, and the music and everything else that we want to " +"use in these film clips.\" Slade said, \"Great! Go for it.\"<placeholder " +"type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The problem was that neither Alben nor Slade had any idea what clearing " +"those rights would mean. Every actor in each of the films could have a claim " +"to royalties for the reuse of that film. But CD- ROMs had not been specified " +"in the contracts for the actors, so there was no clear way to know just what " +"Starwave was to do." +msgstr "" +"problemet var at verken alben eller slade hadde noen ide hva Ã¥ fjerne disse " +"rettighetene ville bety. hver aktør i hver film kan ha et krav til royalties " +"for gjenbruk av at filmen. men cd-ROMene hadde ikke angitt i kontrakter for " +"skuespillerne, sÃ¥ det var ingen klar mÃ¥te Ã¥ vite akkurat hva starwave var Ã¥ " +"gjøre." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I asked Alben how he dealt with the problem. With an obvious pride in his " +"resourcefulness that obscured the obvious bizarreness of his tale, Alben " +"recounted just what they did:" +msgstr "" +"Jeg spurte alben hvor han jobbet med problemet. med en opplagt stolthet i " +"hans resourcefulness som skjult Ã¥penbare bizarreness av hans tale, recounted " +"alben bare hva de gjorde:" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"So we very mechanically went about looking up the film clips. We made some " +"artistic decisions about what film clips to include--of course we were going " +"to use the \"Make my day\" clip from Dirty Harry. But you then need to get " +"the guy on the ground who's wiggling under the gun and you need to get his " +"permission. And then you have to decide what you are going to pay him." +msgstr "" + +#. PAGE BREAK 113 +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"We decided that it would be fair if we offered them the dayplayer rate for " +"the right to reuse that performance. We're talking about a clip of less than " +"a minute, but to reuse that performance in the CD-ROM the rate at the time " +"was about $600. So we had to identify the people--some of them were hard to " +"identify because in Eastwood movies you can't tell who's the guy crashing " +"through the glass--is it the actor or is it the stuntman? And then we just, " +"we put together a team, my assistant and some others, and we just started " +"calling people." +msgstr "" +"vi besluttet at det ville være rettferdig hvis vi tilbudt dem dayplayer-rate " +"for retten til Ã¥ gjenbruke denne prestasjonen. Vi snakker om et klipp av " +"mindre enn et minutt, men hvis du vil bruke denne prestasjonen pÃ¥ CD-ROM-" +"hastigheten pÃ¥ tiden var ca $600. sÃ¥ vi hadde Ã¥ identifisere menneskene – " +"noen av dem var vanskelig Ã¥ identifisere fordi i eastwood filmer du ikke kan " +"fortelle som fyren krasjer gjennom glass – er det skuespiller eller er det " +"stuntman? og sÃ¥ begynte vi bare, vi satt sammen et team, min assistent og " +"noen andre, og vi bare ringe personer." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Some actors were glad to help--Donald Sutherland, for example, followed up " +"himself to be sure that the rights had been cleared. Others were " +"dumbfounded at their good fortune. Alben would ask, \"Hey, can I pay you " +"$600 or maybe if you were in two films, you know, $1,200?\" And they would " +"say, \"Are you for real? Hey, I'd love to get $1,200.\" And some of course " +"were a bit difficult (estranged ex-wives, in particular). But eventually, " +"Alben and his team had cleared the rights to this retrospective CD-ROM on " +"Clint Eastwood's career." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It was one year later--\"and even then we weren't sure whether we were " +"totally in the clear.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Alben is proud of his work. The project was the first of its kind and the " +"only time he knew of that a team had undertaken such a massive project for " +"the purpose of releasing a retrospective." +msgstr "" +"Alben er stolte av sitt arbeid. prosjektet ble først i sitt slag, og den " +"eneste gangen han visste av som et lag hadde pÃ¥tatt seg et kjempestort " +"prosjekt for Ã¥ slippe en retrospektiv." + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"Everyone thought it would be too hard. Everyone just threw up their hands " +"and said, \"Oh, my gosh, a film, it's so many copyrights, there's the music, " +"there's the screenplay, there's the director, there's the actors.\" But we " +"just broke it down. We just put it into its constituent parts and said, " +"\"Okay, there's this many actors, this many directors, . . . this many " +"musicians,\" and we just went at it very systematically and cleared the " +"rights." +msgstr "" + +#. PAGE BREAK 114 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"And no doubt, the product itself was exceptionally good. Eastwood loved it, " +"and it sold very well." +msgstr "" +"og ingen tvil, selve produktet var usedvanlig god. Eastwood elsket det, og " +"det selges godt." + +#. f2 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"U.S. Department of Commerce Office of Acquisition Management, Seven Steps to " +"Performance-Based Services Acquisition, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #22</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But I pressed Alben about how weird it seems that it would have to take a " +"year's work simply to clear rights. No doubt Alben had done this " +"efficiently, but as Peter Drucker has famously quipped, \"There is nothing " +"so useless as doing efficiently that which should not be done at all." +"\"<placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked " +"Alben, that this is the way a new work has to be made?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"For, as he acknowledged, \"very few . . . have the time and resources, and " +"the will to do this,\" and thus, very few such works would ever be made. " +"Does it make sense, I asked him, from the standpoint of what anybody really " +"thought they were ever giving rights for originally, that you would have to " +"go clear rights for these kinds of clips?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"I don't think so. When an actor renders a performance in a movie, he or she " +"gets paid very well. . . . And then when 30 seconds of that performance is " +"used in a new product that is a retrospective of somebody's career, I don't " +"think that that person . . . should be compensated for that." +msgstr "" +"jeg tror ikke det. NÃ¥r en aktør gjengir en forestilling i en film, han eller " +"hun fÃ¥r svært godt betalt.... og deretter nÃ¥r 30 sekunder av denne " +"prestasjonen brukes i et nytt produkt som er en retrospektiv av en persons " +"karriere, jeg tror ikke at vedkommende... skal kompenseres for som." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Or at least, is this how the artist should be compensated? Would it make " +"sense, I asked, for there to be some kind of statutory license that someone " +"could pay and be free to make derivative use of clips like this? Did it " +"really make sense that a follow-on creator would have to track down every " +"artist, actor, director, musician, and get explicit permission from each? " +"Wouldn't a lot more be created if the legal part of the creative process " +"could be made to be more clean?" +msgstr "" +"eller minst, er dette hvordan kunstneren skal kompenseres? vil det være " +"fornuftig, jeg spurte, for det for Ã¥ være en slags lovbestemte lisens som " +"noen kunne betale, og være fri til Ã¥ gjøre avledede bruk av utklipp som " +"dette? det virkelig fornuftig som en etterarbeid skaperen ville ha til Ã¥ " +"spore hver kunstner, skuespiller, regissør, musiker, og fÃ¥ tillatelse fra " +"hver? ville ikke mye mer opprettes hvis den juridiske delen av den kreative " +"prosessen kan gjøres for Ã¥ være mer ren?" + +#. PAGE BREAK 115 +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"Absolutely. I think that if there were some fair-licensing mechanism--where " +"you weren't subject to hold-ups and you weren't subject to estranged former " +"spouses--you'd see a lot more of this work, because it wouldn't be so " +"daunting to try to put together a retrospective of someone's career and " +"meaningfully illustrate it with lots of media from that person's career. " +"You'd build in a cost as the producer of one of these things. You'd build in " +"a cost of paying X dollars to the talent that performed. But it would be a " +"known cost. That's the thing that trips everybody up and makes this kind of " +"product hard to get off the ground. If you knew I have a hundred minutes of " +"film in this product and it's going to cost me X, then you build your budget " +"around it, and you can get investments and everything else that you need to " +"produce it. But if you say, \"Oh, I want a hundred minutes of something and " +"I have no idea what it's going to cost me, and a certain number of people " +"are going to hold me up for money,\" then it becomes difficult to put one of " +"these things together." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Alben worked for a big company. His company was backed by some of the " +"richest investors in the world. He therefore had authority and access that " +"the average Web designer would not have. So if it took him a year, how long " +"would it take someone else? And how much creativity is never made just " +"because the costs of clearing the rights are so high? These costs are the " +"burdens of a kind of regulation. Put on a Republican hat for a moment, and " +"get angry for a bit. The government defines the scope of these rights, and " +"the scope defined determines how much it's going to cost to negotiate them. " +"(Remember the idea that land runs to the heavens, and imagine the pilot " +"purchasing flythrough rights as he negotiates to fly from Los Angeles to San " +"Francisco.) These rights might well have once made sense; but as " +"circumstances change, they make no sense at all. Or at least, a well-" +"trained, regulationminimizing Republican should look at the rights and ask, " +"\"Does this still make sense?\"" +msgstr "" + +#. PAGE BREAK 116 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I've seen the flash of recognition when people get this point, but only a " +"few times. The first was at a conference of federal judges in California. " +"The judges were gathered to discuss the emerging topic of cyber-law. I was " +"asked to be on the panel. Harvey Saferstein, a well-respected lawyer from an " +"L.A. firm, introduced the panel with a video that he and a friend, Robert " +"Fairbank, had produced." +msgstr "" +"Jeg har sett flash av anerkjennelse nÃ¥r folk fÃ¥r dette punktet, men bare et " +"par ganger. Først var pÃ¥ en konferanse av føderale dommere i california. " +"dommernes var samlet for Ã¥ diskutere nye temaet cyber-loven. Jeg ble bedt om " +"Ã¥ være pÃ¥ panelet. Harvey saferstein, et godt respektert advokat fra en l.a. " +"firmaet, introdusert i panelet med en video som han og en venn, robert " +"fairbank, hadde produsert." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The video was a brilliant collage of film from every period in the twentieth " +"century, all framed around the idea of a 60 Minutes episode. The execution " +"was perfect, down to the sixty-minute stopwatch. The judges loved every " +"minute of it." +msgstr "" +"videoen var en glimrende collage av filmen fra hver periode i det tjuende " +"Ã¥rhundret, alle innrammet rundt ideen om en 60 minutter-episode. utførelsen " +"var perfekt, ned til seksti minutter stoppeklokken. dommernes elsket enhver " +"minutt av den." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When the lights came up, I looked over to my copanelist, David Nimmer, " +"perhaps the leading copyright scholar and practitioner in the nation. He had " +"an astonished look on his face, as he peered across the room of over 250 " +"well-entertained judges. Taking an ominous tone, he began his talk with a " +"question: \"Do you know how many federal laws were just violated in this " +"room?\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"For of course, the two brilliantly talented creators who made this film " +"hadn't done what Alben did. They hadn't spent a year clearing the rights to " +"these clips; technically, what they had done violated the law. Of course, " +"it wasn't as if they or anyone were going to be prosecuted for this " +"violation (the presence of 250 judges and a gaggle of federal marshals " +"notwithstanding). But Nimmer was making an important point: A year before " +"anyone would have heard of the word Napster, and two years before another " +"member of our panel, David Boies, would defend Napster before the Ninth " +"Circuit Court of Appeals, Nimmer was trying to get the judges to see that " +"the law would not be friendly to the capacities that this technology would " +"enable. Technology means you can now do amazing things easily; but you " +"couldn't easily do them legally." +msgstr "" +"for selvfølgelig to briljant talentfulle skaperne som laget denne filmen " +"ikke hadde gjort hva alben gjorde. de hadde ikke tilbrakte et Ã¥r Ã¥ fjerne " +"rettighetene til disse klippene; teknisk, hva de hadde gjort brudd pÃ¥ loven. " +"Selvfølgelig, det var ikke som om de eller noen skulle prosecuted for dette " +"krenkelse (tilstedeværelse av 250 dommere) og en gaggle av føderale marshals " +"til tross for. men nimmer var Ã¥ gjøre et viktig poeng: et Ã¥r før noen hadde " +"hørt om word-napster, og to Ã¥r før et annet medlem av panelet, david boies, " +"ville forsvare napster før niende circuit court of appeals, nimmer prøvde Ã¥ " +"fÃ¥ dommere Ã¥ se at loven ikke skulle vennlig til kapasitetene som gir denne " +"teknologien. teknologi betyr at du kan nÃ¥ gjøre fantastiske ting enkelt; men " +"du ikke kunne enkelt gjøre dem lovlig." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We live in a \"cut and paste\" culture enabled by technology. Anyone " +"building a presentation knows the extraordinary freedom that the cut and " +"paste architecture of the Internet created--in a second you can find just " +"about any image you want; in another second, you can have it planted in your " +"presentation." +msgstr "" + +#. PAGE BREAK 117 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But presentations are just a tiny beginning. Using the Internet and its " +"archives, musicians are able to string together mixes of sound never before " +"imagined; filmmakers are able to build movies out of clips on computers " +"around the world. An extraordinary site in Sweden takes images of " +"politicians and blends them with music to create biting political " +"commentary. A site called Camp Chaos has produced some of the most biting " +"criticism of the record industry that there is through the mixing of Flash! " +"and music." +msgstr "" +"men presentasjoner er bare en liten begynnelse. ved hjelp av Internett og " +"sine arkiver, er musikere i stand til streng sammen mikser lydens aldri før " +"hadde forestilt deg; filmskapere er i stand til Ã¥ lage filmer ut av klipp pÃ¥ " +"datamaskiner rundt om i verden. en ekstraordinære omrÃ¥det i Sverige tar " +"bilder av politikere og blander dem med musikk Ã¥ opprette bite politiske " +"kommentarer. et omrÃ¥de kalt leiren kaos har produsert noen av de mest skarp " +"kritikken av rullebladet industri som det er gjennom blanding av flash! og " +"musikk." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"All of these creations are technically illegal. Even if the creators wanted " +"to be \"legal,\" the cost of complying with the law is impossibly high. " +"Therefore, for the law-abiding sorts, a wealth of creativity is never made. " +"And for that part that is made, if it doesn't follow the clearance rules, it " +"doesn't get released." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"To some, these stories suggest a solution: Let's alter the mix of rights so " +"that people are free to build upon our culture. Free to add or mix as they " +"see fit. We could even make this change without necessarily requiring that " +"the \"free\" use be free as in \"free beer.\" Instead, the system could " +"simply make it easy for follow-on creators to compensate artists without " +"requiring an army of lawyers to come along: a rule, for example, that says " +"\"the royalty owed the copyright owner of an unregistered work for the " +"derivative reuse of his work will be a flat 1 percent of net revenues, to be " +"held in escrow for the copyright owner.\" Under this rule, the copyright " +"owner could benefit from some royalty, but he would not have the benefit of " +"a full property right (meaning the right to name his own price) unless he " +"registers the work." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Who could possibly object to this? And what reason would there be for " +"objecting? We're talking about work that is not now being made; which if " +"made, under this plan, would produce new income for artists. What reason " +"would anyone have to oppose it?" +msgstr "" +"Hvem ville muligens objektet til dette? og hva grunn ville det være for " +"objecting? Vi snakker om arbeid som ikke nÃ¥ blir gjort; som hvis gjort, " +"under denne plan, ville produsere nye inntekter for kunstnere. Hva grunn " +"ville alle ha til Ã¥ motsette seg det?" + +#. PAGE BREAK 118 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In February 2003, DreamWorks studios announced an agreement with Mike Myers, " +"the comic genius of Saturday Night Live and Austin Powers. According to the " +"announcement, Myers and Dream-Works would work together to form a \"unique " +"filmmaking pact.\" Under the agreement, DreamWorks \"will acquire the rights " +"to existing motion picture hits and classics, write new storylines and--with " +"the use of stateof-the-art digital technology--insert Myers and other actors " +"into the film, thereby creating an entirely new piece of entertainment.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The announcement called this \"film sampling.\" As Myers explained, \"Film " +"Sampling is an exciting way to put an original spin on existing films and " +"allow audiences to see old movies in a new light. Rap artists have been " +"doing this for years with music and now we are able to take that same " +"concept and apply it to film.\" Steven Spielberg is quoted as saying, \"If " +"anyone can create a way to bring old films to new audiences, it is Mike.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Spielberg is right. Film sampling by Myers will be brilliant. But if you " +"don't think about it, you might miss the truly astonishing point about this " +"announcement. As the vast majority of our film heritage remains under " +"copyright, the real meaning of the DreamWorks announcement is just this: It " +"is Mike Myers and only Mike Myers who is free to sample. Any general freedom " +"to build upon the film archive of our culture, a freedom in other contexts " +"presumed for us all, is now a privilege reserved for the funny and famous--" +"and presumably rich." +msgstr "" +"Spielberg er rett. filmen prøvetaking av myers vil bli strÃ¥lende. men hvis " +"du ikke tenke pÃ¥ det, du vil kanskje savne helt utrolig punktet om denne " +"kunngjøringen. som de aller fleste av vÃ¥r film arv, forblir under " +"opphavsrett, den virkelige betydningen av dreamworks utlysningen er bare " +"dette: det er mike myers og bare mike myers som er gratis Ã¥ prøve. noen " +"generelle frihet til Ã¥ bygge pÃ¥ film arkiv av vÃ¥r kultur, en frihet i andre " +"sammenhenger antatt for oss alle, er nÃ¥ et privilegium reservert for morsomt " +"og berømte-- og antagelig rik." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This privilege becomes reserved for two sorts of reasons. The first " +"continues the story of the last chapter: the vagueness of \"fair use.\" Much " +"of \"sampling\" should be considered \"fair use.\" But few would rely upon " +"so weak a doctrine to create. That leads to the second reason that the " +"privilege is reserved for the few: The costs of negotiating the legal rights " +"for the creative reuse of content are astronomically high. These costs " +"mirror the costs with fair use: You either pay a lawyer to defend your fair " +"use rights or pay a lawyer to track down permissions so you don't have to " +"rely upon fair use rights. Either way, the creative process is a process of " +"paying lawyers--again a privilege, or perhaps a curse, reserved for the few." +msgstr "" + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER NINE: Collectors" +msgstr "kapittel 9: samlere" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In April 1996, millions of \"bots\"--computer codes designed to \"spider,\" " +"or automatically search the Internet and copy content--began running across " +"the Net. Page by page, these bots copied Internet-based information onto a " +"small set of computers located in a basement in San Francisco's Presidio. " +"Once the bots finished the whole of the Internet, they started again. Over " +"and over again, once every two months, these bits of code took copies of the " +"Internet and stored them." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"By October 2001, the bots had collected more than five years of copies. And " +"at a small announcement in Berkeley, California, the archive that these " +"copies created, the Internet Archive, was opened to the world. Using a " +"technology called \"the Way Back Machine,\" you could enter a Web page, and " +"see all of its copies going back to 1996, as well as when those pages " +"changed." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This is the thing about the Internet that Orwell would have appreciated. In " +"the dystopia described in 1984, old newspapers were constantly updated to " +"assure that the current view of the world, approved of by the government, " +"was not contradicted by previous news reports." +msgstr "" +"Dette er ting om Internett som orwell ville ha verdsatt. i dystopia " +"beskrevet i 1984, ble gamle aviser stadig oppdatert for Ã¥ sikre som " +"gjeldende visning av verden, godkjent av regjeringen, ikke var motsagt av " +"forrige nyhetsrapporter." + +#. PAGE BREAK 120 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Thousands of workers constantly reedited the past, meaning there was no way " +"ever to know whether the story you were reading today was the story that was " +"printed on the date published on the paper." +msgstr "" +"tusenvis av arbeidstakere stadig reedited fortiden, noe som betyr at det var " +"ingen mÃ¥te noen gang Ã¥ vite om historien du lese i dag var historie som ble " +"skrevet ut pÃ¥ dato publisert pÃ¥ papiret." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It's the same with the Internet. If you go to a Web page today, there's no " +"way for you to know whether the content you are reading is the same as the " +"content you read before. The page may seem the same, but the content could " +"easily be different. The Internet is Orwell's library--constantly updated, " +"without any reliable memory." +msgstr "" +"Det er det samme med Internett. Hvis du gÃ¥r til en webside i dag, er det " +"ingen mÃ¥te for deg Ã¥ vite om innholdet du leser er det samme som innholdet " +"du lese før. siden kan virke det samme, men innholdet kan være forskjellige. " +"Internett er orwell's bibliotek--oppdatert hele tiden, uten noen pÃ¥litelig " +"minne." + +#. f1 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"The temptations remain, however. Brewster Kahle reports that the White House " +"changes its own press releases without notice. A May 13, 2003, press release " +"stated, \"Combat Operations in Iraq Have Ended.\" That was later changed, " +"without notice, to \"Major Combat Operations in Iraq Have Ended.\" E-mail " +"from Brewster Kahle, 1 December 2003." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Until the Way Back Machine, at least. With the Way Back Machine, and the " +"Internet Archive underlying it, you can see what the Internet was. You have " +"the power to see what you remember. More importantly, perhaps, you also have " +"the power to find what you don't remember and what others might prefer you " +"forget.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We take it for granted that we can go back to see what we remember reading. " +"Think about newspapers. If you wanted to study the reaction of your hometown " +"newspaper to the race riots in Watts in 1965, or to Bull Connor's water " +"cannon in 1963, you could go to your public library and look at the " +"newspapers. Those papers probably exist on microfiche. If you're lucky, they " +"exist in paper, too. Either way, you are free, using a library, to go back " +"and remember--not just what it is convenient to remember, but remember " +"something close to the truth." +msgstr "" +"vi ta det for gitt at vi kan gÃ¥ tilbake til Ã¥ se hva vi husker jeg leser. " +"Tenk pÃ¥ aviser. Hvis du ønsker Ã¥ studere reaksjon i hjembyen avisa pÃ¥ rase " +"opptøyene i watt i 1965, eller til bull connor's vannkanon i 1963, kan du gÃ¥ " +"til din offentlige bibliotek og se pÃ¥ avisene. Disse papirene finnes " +"sannsynligvis pÃ¥ mikrokort. Hvis du er heldig, finnes de i papir, ogsÃ¥. " +"Uansett, du er fri, ved hjelp av et bibliotek, for Ã¥ gÃ¥ tilbake og huske--" +"ikke bare hva det er praktisk Ã¥ huske, men husker noe nær sannheten." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It is said that those who fail to remember history are doomed to repeat it. " +"That's not quite correct. We all forget history. The key is whether we have " +"a way to go back to rediscover what we forget. More directly, the key is " +"whether an objective past can keep us honest. Libraries help do that, by " +"collecting content and keeping it, for schoolchildren, for researchers, for " +"grandma. A free society presumes this knowedge." +msgstr "" +"Det sies at de som ikke klarer Ã¥ huske historie er dømt til Ã¥ gjenta den. " +"Det er ikke helt riktig. vi alle glemme historie. nøkkelen er om vi har en " +"mÃ¥te Ã¥ gÃ¥ tilbake til Gjenoppdag hva vi glemme. nøkkelen er mer direkte om " +"en objektiv siste kan holde oss ærlig. biblioteker hjelpe gjøre det, ved Ã¥ " +"samle innhold og holde den, for skolebarn, til forskere for bestemor. et " +"fritt samfunn forutsetter dette knowedge." + +#. PAGE BREAK 121 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Internet was an exception to this presumption. Until the Internet " +"Archive, there was no way to go back. The Internet was the quintessentially " +"transitory medium. And yet, as it becomes more important in forming and " +"reforming society, it becomes more and more important to maintain in some " +"historical form. It's just bizarre to think that we have scads of archives " +"of newspapers from tiny towns around the world, yet there is but one copy of " +"the Internet--the one kept by the Internet Archive." +msgstr "" +"Internett var et unntak til denne antagelse. før internet archive var det " +"ikke mulig Ã¥ gÃ¥ tilbake. Internett var typiske forbigÃ¥ende medium. og ennÃ¥, " +"som det blir viktigere i forming og reformere samfunn, det blir mer og mer " +"viktig Ã¥ opprettholde i noen historiske form. Det er bare bisarre Ã¥ tro at " +"vi har scads av arkiver av aviser fra bittesmÃ¥ byer rundt om i verden, men " +"det er én kopi av Internett--det ettall holdt av internet archive." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Brewster Kahle is the founder of the Internet Archive. He was a very " +"successful Internet entrepreneur after he was a successful computer " +"researcher. In the 1990s, Kahle decided he had had enough business " +"success. It was time to become a different kind of success. So he launched " +"a series of projects designed to archive human knowledge. The Internet " +"Archive was just the first of the projects of this Andrew Carnegie of the " +"Internet. By December of 2002, the archive had over 10 billion pages, and it " +"was growing at about a billion pages a month." +msgstr "" +"Brewster kahle er grunnleggeren av internet archive. Han var en svært " +"vellykket Internett entreprenør etter at han var vellykket datamaskinen " +"forsker. i 1990-Ã¥rene besluttet kahle han hadde hatt nok suksess. Det var " +"tid for Ã¥ bli en annen type suksess. sÃ¥ han lansert en rekke prosjekter som " +"er utformet for Ã¥ arkivere menneskelig kunnskap. internet archive var bare " +"først av prosjekter av denne andrew carnegie av Internett. ved desember " +"2002, arkivet hadde over 10 milliarder sider, og det ble vokser om en " +"milliard sider per mÃ¥ned." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Way Back Machine is the largest archive of human knowledge in human " +"history. At the end of 2002, it held \"two hundred and thirty terabytes of " +"material\"--and was \"ten times larger than the Library of Congress.\" And " +"this was just the first of the archives that Kahle set out to build. In " +"addition to the Internet Archive, Kahle has been constructing the Television " +"Archive. Television, it turns out, is even more ephemeral than the Internet. " +"While much of twentieth-century culture was constructed through television, " +"only a tiny proportion of that culture is available for anyone to see today. " +"Three hours of news are recorded each evening by Vanderbilt University--" +"thanks to a specific exemption in the copyright law. That content is " +"indexed, and is available to scholars for a very low fee. \"But other than " +"that, [television] is almost unavailable,\" Kahle told me. \"If you were " +"Barbara Walters you could get access to [the archives], but if you are just " +"a graduate student?\" As Kahle put it," +msgstr "" + +#. PAGE BREAK 122 +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"Do you remember when Dan Quayle was interacting with Murphy Brown? Remember " +"that back and forth surreal experience of a politician interacting with a " +"fictional television character? If you were a graduate student wanting to " +"study that, and you wanted to get those original back and forth exchanges " +"between the two, the 60 Minutes episode that came out after it . . . it " +"would be almost impossible. . . . Those materials are almost " +"unfindable. . . ." +msgstr "" +"husker du nÃ¥r dan quayle samhandlet med murphy brown? Husk at frem og " +"tilbake surrealistisk opplevelse av en politiker samarbeidsstil et fiktive " +"TV-tegn? Hvis du var utdannet student som ønsker Ã¥ studere som, og du vil fÃ¥ " +"de opprinnelige frem og tilbake utveksling mellom to, den 60 minutter " +"episoden som kom ut etter det... det ville være nesten umulig.... disse " +"materialene er nesten unfindable...." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Why is that? Why is it that the part of our culture that is recorded in " +"newspapers remains perpetually accessible, while the part that is recorded " +"on videotape is not? How is it that we've created a world where researchers " +"trying to understand the effect of media on nineteenthcentury America will " +"have an easier time than researchers trying to understand the effect of " +"media on twentieth-century America?" +msgstr "" +"Hvorfor er det? Hvorfor er det at delen av vÃ¥r kultur som er registrert i " +"aviser forblir perpetually tilgjengelig, mens delen som er registrert pÃ¥ " +"videobÃ¥ndet ikke er? Hvordan er det at vi har laget en verden hvor forskere " +"prøver Ã¥ forstÃ¥ virkningen av media pÃ¥ nineteenthcentury Amerika vil ha en " +"enklere tid enn forskere prøver Ã¥ forstÃ¥ virkningen av media pÃ¥ 1900-tallet " +"Amerika?" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In part, this is because of the law. Early in American copyright law, " +"copyright owners were required to deposit copies of their work in " +"libraries. These copies were intended both to facilitate the spread of " +"knowledge and to assure that a copy of the work would be around once the " +"copyright expired, so that others might access and copy the work." +msgstr "" +"Dette er delvis pÃ¥ grunn av loven. tidlig i amerikansk lov om opphavsrett " +"var opphavsrett eiere nødvendige for Ã¥ sette inn kopier av sitt arbeid pÃ¥ " +"bibliotekene. Disse kopiene var ment Ã¥ forenkle spredning av kunnskap og Ã¥ " +"sikre at en kopi av arbeidet vil være rundt nÃ¥r opphavsretten utløpt, slik " +"at andre kan fÃ¥ tilgang til og kopiere arbeidet." + +#. f2 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Doug Herrick, \\\"Toward a National Film Collection: Motion Pictures at " +#| "the Library of Congress,\\\" Film Library Quarterly 13 nos. 2­3 (1980): 5; " +#| "Anthony Slide, Nitrate Won't Wait: A History of Film Preservation in the " +#| "United States ( Jefferson, N.C.: McFarland & Co., 1992), 36." +msgid "" +"Doug Herrick, \"Toward a National Film Collection: Motion Pictures at the " +"Library of Congress,\" Film Library Quarterly 13 nos. 2­3 (1980): 5; Anthony " +"Slide, Nitrate Won't Wait: A History of Film Preservation in the United " +"States ( Jefferson, N.C.: McFarland & Co., 1992), 36." +msgstr "" +"Doug herrick, \\\"mot en nasjonal Filmsamling: filmindustrien pÃ¥ library of " +"congress,\\\" film biblioteket kvartalsvise 13 nr 2­3 (1980): 5; Anthony " +"lysbildet, nitrat vil ikke vente: en historie om filmen bevaring i USA " +"(jefferson, NC: mcfarland & Co, 1992), 36." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These rules applied to film as well. But in 1915, the Library of Congress " +"made an exception for film. Film could be copyrighted so long as such " +"deposits were made. But the filmmaker was then allowed to borrow back the " +"deposits--for an unlimited time at no cost. In 1915 alone, there were more " +"than 5,475 films deposited and \"borrowed back.\" Thus, when the copyrights " +"to films expire, there is no copy held by any library. The copy exists--if " +"it exists at all--in the library archive of the film company.<placeholder " +"type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The same is generally true about television. Television broadcasts were " +"originally not copyrighted--there was no way to capture the broadcasts, so " +"there was no fear of \"theft.\" But as technology enabled capturing, " +"broadcasters relied increasingly upon the law. The law required they make a " +"copy of each broadcast for the work to be \"copyrighted.\" But those copies " +"were simply kept by the broadcasters. No library had any right to them; the " +"government didn't demand them. The content of this part of American culture " +"is practically invisible to anyone who would look." +msgstr "" + +#. PAGE BREAK 123 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Kahle was eager to correct this. Before September 11, 2001, he and his " +"allies had started capturing television. They selected twenty stations from " +"around the world and hit the Record button. After September 11, Kahle, " +"working with dozens of others, selected twenty stations from around the " +"world and, beginning October 11, 2001, made their coverage during the week " +"of September 11 available free on-line. Anyone could see how news reports " +"from around the world covered the events of that day." +msgstr "" +"Kahle var ivrig etter Ã¥ rette opp dette. før september 11, 2001, hadde han " +"og hans allierte begynt Ã¥ fange TV. de tyve radiostasjoner fra hele verden " +"er merket, og trykk pÃ¥ record-knappen. etter 11 september, kahle, arbeide " +"med mange andre, merkede tjue radiostasjoner fra hele verden, og starter 11. " +"oktober 2001, gjort sin dekning i uken av 11 september tilgjengelig gratis " +"on-line. alle kunne se hvordan nyhetsrapporter fra rundt om i verden dekkes " +"hendelsene den dagen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Kahle had the same idea with film. Working with Rick Prelinger, whose " +"archive of film includes close to 45,000 \"ephemeral films\" (meaning films " +"other than Hollywood movies, films that were never copyrighted), Kahle " +"established the Movie Archive. Prelinger let Kahle digitize 1,300 films in " +"this archive and post those films on the Internet to be downloaded for free. " +"Prelinger's is a for-profit company. It sells copies of these films as stock " +"footage. What he has discovered is that after he made a significant chunk " +"available for free, his stock footage sales went up dramatically. People " +"could easily find the material they wanted to use. Some downloaded that " +"material and made films on their own. Others purchased copies to enable " +"other films to be made. Either way, the archive enabled access to this " +"important part of our culture. Want to see a copy of the \"Duck and Cover\" " +"film that instructed children how to save themselves in the middle of " +"nuclear attack? Go to archive.org, and you can download the film in a few " +"minutes--for free." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Here again, Kahle is providing access to a part of our culture that we " +"otherwise could not get easily, if at all. It is yet another part of what " +"defines the twentieth century that we have lost to history. The law doesn't " +"require these copies to be kept by anyone, or to be deposited in an archive " +"by anyone. Therefore, there is no simple way to find them." +msgstr "" +"Her igjen, gir kahle tilgang til en del av vÃ¥r kultur som vi ellers ikke " +"kunne fÃ¥ enkelt, hvis i det hele tatt. Det er ennÃ¥ en annen del av det som " +"definerer det tjuende Ã¥rhundre at vi har mistet til historie. loven krever " +"ikke disse kopiene skal holdes av alle, eller for Ã¥ bli satt i et arkiv av " +"alle. derfor finnes det ingen enkel mÃ¥te Ã¥ finne dem." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The key here is access, not price. Kahle wants to enable free access to this " +"content, but he also wants to enable others to sell access to it. His aim is " +"to ensure competition in access to this important part of our culture. Not " +"during the commercial life of a bit of creative property, but during a " +"second life that all creative property has--a noncommercial life." +msgstr "" +"nøkkelen her er tilgang, ikke pris. Kahle ønsker Ã¥ aktivere gratis tilgang " +"til dette innholdet, men han ønsker ogsÃ¥ Ã¥ gjøre andre til Ã¥ selge tilgang " +"til den. hans mÃ¥l er Ã¥ sikre konkurranse i tilgang til denne viktige delen " +"av vÃ¥r kultur. ikke under kommersielle livet av en bit av kreative eiendom, " +"men under en second life som alle kreative egenskapen har--et ikke-" +"kommersiell liv." + +#. PAGE BREAK 124 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"For here is an idea that we should more clearly recognize. Every bit of " +"creative property goes through different \"lives.\" In its first life, if " +"the creator is lucky, the content is sold. In such cases the commercial " +"market is successful for the creator. The vast majority of creative property " +"doesn't enjoy such success, but some clearly does. For that content, " +"commercial life is extremely important. Without this commercial market, " +"there would be, many argue, much less creativity." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"After the commercial life of creative property has ended, our tradition has " +"always supported a second life as well. A newspaper delivers the news every " +"day to the doorsteps of America. The very next day, it is used to wrap fish " +"or to fill boxes with fragile gifts or to build an archive of knowledge " +"about our history. In this second life, the content can continue to inform " +"even if that information is no longer sold." +msgstr "" +"etter kommersielle livet av creative-egenskapen er avsluttet, har vÃ¥r " +"tradisjon alltid støttet en second life ogsÃ¥. en avis leverer nyheter hver " +"dag til doorsteps av Amerika. svært neste dag, brukes den til Ã¥ bryte fisk " +"eller for Ã¥ fylle bokser med skjøre gaver eller for Ã¥ bygge et arkiv av " +"kunnskap om vÃ¥r historie. i denne second life, kan innholdet fortsette Ã¥ " +"informere selv om denne informasjonen ikke lenger er solgt." + +#. f3 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Dave Barns, \"Fledgling Career in Antique Books: Woodstock Landlord, Bar " +"Owner Starts a New Chapter by Adopting Business,\" Chicago Tribune, 5 " +"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, " +"only 2.2 percent were in print in 2002. R. Anthony Reese, \"The First Sale " +"Doctrine in the Era of Digital Networks,\" Boston College Law Review 44 " +"(2003): 593 n. 51." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The same has always been true about books. A book goes out of print very " +"quickly (the average today is after about a year<placeholder type=\"footnote" +"\" id=\"0\"/>). After it is out of print, it can be sold in used book stores " +"without the copyright owner getting anything and stored in libraries, where " +"many get to read the book, also for free. Used book stores and libraries are " +"thus the second life of a book. That second life is extremely important to " +"the spread and stability of culture." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet increasingly, any assumption about a stable second life for creative " +"property does not hold true with the most important components of popular " +"culture in the twentieth and twenty-first centuries. For these--television, " +"movies, music, radio, the Internet--there is no guarantee of a second life. " +"For these sorts of culture, it is as if we've replaced libraries with Barnes " +"& Noble superstores. With this culture, what's accessible is nothing but " +"what a certain limited market demands. Beyond that, culture disappears." +msgstr "" +"ennÃ¥ i økende grad holder noen antakelse om en stabil second life for " +"kreative egenskapen ikke true med de viktigste komponentene i " +"populærkulturen i de tjuende og tjueførste Ã¥rhundrene. for disse--TV, " +"filmer, musikk, radio, Internett - det er ingen garanti for en second life. " +"for disse slags kultur er det som om vi har erstattet biblioteker med barnes " +"& noble superstores. med denne kulturen, hva er tilgjengelig er noe " +"annet enn hva en viss begrenset marked krav. utover det forsvinner kultur." + +#. PAGE BREAK 125 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"For most of the twentieth century, it was economics that made this so. It " +"would have been insanely expensive to collect and make accessible all " +"television and film and music: The cost of analog copies is extraordinarily " +"high. So even though the law in principle would have restricted the ability " +"of a Brewster Kahle to copy culture generally, the real restriction was " +"economics. The market made it impossibly difficult to do anything about this " +"ephemeral culture; the law had little practical effect." +msgstr "" +"for det meste av det tjuende Ã¥rhundre var det økonomi som gjorde dette sÃ¥. " +"det ville ha vært sinnsykt dyrt Ã¥ samle og gjøre tilgjengelig alle TV og " +"film og musikk: kostnaden for analoge Kopier er svært høy. sÃ¥ selv om loven " +"i prinsippet ville har begrenset mulighet til en brewster kahle Ã¥ kopiere " +"kultur Generelt, ekte begrensningen var økonomi. markedet gjorde det " +"impossibly vanskelig Ã¥ gjøre noe med denne flyktige kultur; loven hadde lite " +"praktiske effekten." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Perhaps the single most important feature of the digital revolution is that " +"for the first time since the Library of Alexandria, it is feasible to " +"imagine constructing archives that hold all culture produced or distributed " +"publicly. Technology makes it possible to imagine an archive of all books " +"published, and increasingly makes it possible to imagine an archive of all " +"moving images and sound." +msgstr "" +"kanskje er enkelt viktigste funksjon i den digitale revolusjonen at for " +"første gang siden biblioteket i alexandria, er det mulig Ã¥ forestille seg Ã¥ " +"opprette arkiver som holder alle kultur produsert eller distribueres " +"offentlig. teknologien gjør det mulig Ã¥ forestille seg et arkiv over alle " +"bøker som er utgitt og stadig mer gjør det mulig Ã¥ forestille seg et arkiv " +"over alle bevegelige bilder og lyd." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The scale of this potential archive is something we've never imagined " +"before. The Brewster Kahles of our history have dreamed about it; but we are " +"for the first time at a point where that dream is possible. As Kahle " +"describes," +msgstr "" +"omfanget av dette potensielle arkivet er noe vi har aldri forestilt meg før. " +"brewster kahles i vÃ¥r historie har drømt om det; men vi er for første gang " +"ved et punkt der det er mulig at drømmen. som kahle beskriver," + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"It looks like there's about two to three million recordings of music. Ever. " +"There are about a hundred thousand theatrical releases of movies, . . . and " +"about one to two million movies [distributed] during the twentieth century. " +"There are about twenty-six million different titles of books. All of these " +"would fit on computers that would fit in this room and be able to be " +"afforded by a small company. So we're at a turning point in our history. " +"Universal access is the goal. And the opportunity of leading a different " +"life, based on this, is . . . thrilling. It could be one of the things " +"humankind would be most proud of. Up there with the Library of Alexandria, " +"putting a man on the moon, and the invention of the printing press." +msgstr "" +"Det ser ut som det er om to til tre millioner opptak av musikk. noensinne. " +"Det er om lag hundre tusen teatralsk utgivelser av filmer,... og om ett til " +"to millioner filmer [fordelt] under det tjuende Ã¥rhundre. Det er om lag tjue " +"- seks millioner forskjellige titler pÃ¥ bøker. alle disse ville passe pÃ¥ " +"datamaskiner som ville passe inn i dette rommet og kunne ha rÃ¥d av et lite " +"selskap. sÃ¥ er vi ved et vendepunkt i vÃ¥r historie. særlige er mÃ¥let. og " +"muligheten til Ã¥ lede et annet liv, basert pÃ¥ dette, er... spennende. Det " +"kan være en av tingene som menneskeheten ville være mest stolt av. Ã¥ sette " +"en mann pÃ¥ mÃ¥nen, og oppfinnelsen av trykkpressen oppe med biblioteket i " +"alexandria." + +#. PAGE BREAK 126 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Kahle is not the only librarian. The Internet Archive is not the only " +"archive. But Kahle and the Internet Archive suggest what the future of " +"libraries or archives could be. When the commercial life of creative " +"property ends, I don't know. But it does. And whenever it does, Kahle and " +"his archive hint at a world where this knowledge, and culture, remains " +"perpetually available. Some will draw upon it to understand it; some to " +"criticize it. Some will use it, as Walt Disney did, to re-create the past " +"for the future. These technologies promise something that had become " +"unimaginable for much of our past--a future for our past. The technology of " +"digital arts could make the dream of the Library of Alexandria real again." +msgstr "" +"Kahle er ikke den eneste bibliotekar. internet archive er ikke det eneste " +"arkivet. men kahle og internet archive foreslÃ¥ hva fremtiden for biblioteker " +"eller Arkiver kan være. NÃ¥r kommersielle livet av kreative egenskapen " +"avsluttes, vet jeg ikke. men det gjør. og nÃ¥r den gjør det, kahle og hans " +"arkiv hint pÃ¥ en verden der denne kunnskap og kultur, forblir perpetually " +"tilgjengelig. noen vil trekke pÃ¥ det Ã¥ forstÃ¥ det. noen Ã¥ kritisere den. " +"noen vil bruke den, som walt disney gjorde, for Ã¥ gjenopprette siste for " +"fremtiden. disse teknologiene lover noe som hadde blitt ufattelig for mye av " +"vÃ¥r fortid--en fremtid for vÃ¥r fortid. teknologi for digital arts kan gjøre " +"drømmen om biblioteket i alexandria virkelig igjen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Technologists have thus removed the economic costs of building such an " +"archive. But lawyers' costs remain. For as much as we might like to call " +"these \"archives,\" as warm as the idea of a \"library\" might seem, the " +"\"content\" that is collected in these digital spaces is also someone's " +"\"property.\" And the law of property restricts the freedoms that Kahle and " +"others would exercise." +msgstr "" + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER TEN: \"Property\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Jack Valenti has been the president of the Motion Picture Association of " +"America since 1966. He first came to Washington, D.C., with Lyndon Johnson's " +"administration--literally. The famous picture of Johnson's swearing-in on " +"Air Force One after the assassination of President Kennedy has Valenti in " +"the background. In his almost forty years of running the MPAA, Valenti has " +"established himself as perhaps the most prominent and effective lobbyist in " +"Washington." +msgstr "" +"Jack valenti har vært president i motion picture association of america " +"siden 1966. først kom han til washington, DC, med lyndon johnson's " +"administrasjon--bokstavelig. det berømte bildet av johnson's swearing-in pÃ¥ " +"air force en etter assassination av president kennedy har valenti i " +"bakgrunnen. i hans nesten førti Ã¥r kjører mpaa, har valenti etablert seg som " +"kanskje mest iøynefallende og effektiv korridorpolitiker i washington." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The MPAA is the American branch of the international Motion Picture " +"Association. It was formed in 1922 as a trade association whose goal was to " +"defend American movies against increasing domestic criticism. The " +"organization now represents not only filmmakers but producers and " +"distributors of entertainment for television, video, and cable. Its board is " +"made up of the chairmen and presidents of the seven major producers and " +"distributors of motion picture and television programs in the United States: " +"Walt Disney, Sony Pictures Entertainment, MGM, Paramount Pictures, Twentieth " +"Century Fox, Universal Studios, and Warner Brothers." +msgstr "" +"mpaa er den amerikanske avdelingen av internasjonale motion picture " +"association. Det ble dannet i 1922 som en handelsforening som har mÃ¥l var Ã¥ " +"forsvare amerikanske filmer mot økende innenriks kritikk. organisasjonen nÃ¥ " +"representerer ikke bare filmskapere men produsenter og distributører av " +"underholdning for TV, video og kabel. Styret bestÃ¥r av formenn og " +"presidenter av de sju store produsentene og distributører av filmselskaper " +"og TV-programmer i USA: walt disney, sony pictures entertainment, mgm, " +"paramount bilder, 20th century fox, universal studios og warner brothers." + +#. PAGE BREAK 128 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Valenti is only the third president of the MPAA. No president before him has " +"had as much influence over that organization, or over Washington. As a " +"Texan, Valenti has mastered the single most important political skill of a " +"Southerner--the ability to appear simple and slow while hiding a lightning-" +"fast intellect. To this day, Valenti plays the simple, humble man. But this " +"Harvard MBA, and author of four books, who finished high school at the age " +"of fifteen and flew more than fifty combat missions in World War II, is no " +"Mr. Smith. When Valenti went to Washington, he mastered the city in a " +"quintessentially Washingtonian way." +msgstr "" +"Valenti er bare den tredje presidenten av mpaa. Ingen president før ham har " +"hatt sÃ¥ stor innflytelse over denne organisasjonen eller over washington. " +"som en Texas har valenti mestret enkelt viktigste politiske ferdigheter til " +"en southerner--muligheten til Ã¥ vises enkle og treg mens skjule en lynrask " +"intellekt. til denne dag har spiller valenti enkel, ydmyke mann. men denne " +"harvard mba, og forfatter av fire bøker, som fullført videregÃ¥ende skole i " +"en alder av femten, og fløy mer enn femti bekjempe oppdrag i andre " +"verdenskrig, er ingen mr. smith. NÃ¥r valenti gikk til washington, han " +"mestret byen i en typiske washingtonian mÃ¥te." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In defending artistic liberty and the freedom of speech that our culture " +"depends upon, the MPAA has done important good. In crafting the MPAA rating " +"system, it has probably avoided a great deal of speech-regulating harm. But " +"there is an aspect to the organization's mission that is both the most " +"radical and the most important. This is the organization's effort, " +"epitomized in Valenti's every act, to redefine the meaning of \"creative " +"property.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In 1982, Valenti's testimony to Congress captured the strategy perfectly:" +msgstr "" +"i 1982 innspilt valenti's vitnesbyrd til Kongressen strategien perfekt:" + +#. f1 +#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para> +msgid "" +"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, H.R. " +"4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on Courts, " +"Civil Liberties, and the Administration of Justice of the Committee on the " +"Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 " +"(testimony of Jack Valenti)." +msgstr "" +"Hjem registrering av opphavsrettslig beskyttet verk: hearings pÃ¥ hr 4783, hr " +"4794, hr 4808, hr 5250, hr 5488 og hr 5705 før subcommittee on domstoler, " +"borgerrettigheter og administrasjonen av rettferdighet av committee on " +"rettsvesenet av house of representatives, 97th cong., 2nd sess. (1982): 65 " +"(vitnesbyrd om jack valenti)." + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"No matter the lengthy arguments made, no matter the charges and the counter-" +"charges, no matter the tumult and the shouting, reasonable men and women " +"will keep returning to the fundamental issue, the central theme which " +"animates this entire debate: Creative property owners must be accorded the " +"same rights and protection resident in all other property owners in the " +"nation. That is the issue. That is the question. And that is the rostrum on " +"which this entire hearing and the debates to follow must rest.<placeholder " +"type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 129 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The strategy of this rhetoric, like the strategy of most of Valenti's " +"rhetoric, is brilliant and simple and brilliant because simple. The " +"\"central theme\" to which \"reasonable men and women\" will return is this: " +"\"Creative property owners must be accorded the same rights and protections " +"resident in all other property owners in the nation.\" There are no second-" +"class citizens, Valenti might have continued. There should be no second-" +"class property owners." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This claim has an obvious and powerful intuitive pull. It is stated with " +"such clarity as to make the idea as obvious as the notion that we use " +"elections to pick presidents. But in fact, there is no more extreme a claim " +"made by anyone who is serious in this debate than this claim of Valenti's. " +"Jack Valenti, however sweet and however brilliant, is perhaps the nation's " +"foremost extremist when it comes to the nature and scope of \"creative " +"property.\" His views have no reasonable connection to our actual legal " +"tradition, even if the subtle pull of his Texan charm has slowly redefined " +"that tradition, at least in Washington." +msgstr "" + +#. f2 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Lawyers speak of \\\"property\\\" not as an absolute thing, but as a " +#| "bundle of rights that are sometimes associated with a particular object. " +#| "Thus, my \\\"property right\\\" to my car gives me the right to exclusive " +#| "use, but not the right to drive at 150 miles an hour. For the best effort " +#| "to connect the ordinary meaning of \\\"property\\\" to \\\"lawyer talk,\\" +#| "\" see Bruce Ackerman, Private Property and the Constitution (New Haven: " +#| "Yale University Press, 1977), 26­27." +msgid "" +"Lawyers speak of \"property\" not as an absolute thing, but as a bundle of " +"rights that are sometimes associated with a particular object. Thus, my " +"\"property right\" to my car gives me the right to exclusive use, but not " +"the right to drive at 150 miles an hour. For the best effort to connect the " +"ordinary meaning of \"property\" to \"lawyer talk,\" see Bruce Ackerman, " +"Private Property and the Constitution (New Haven: Yale University Press, " +"1977), 26­27." +msgstr "" +"advokater snakker om \\\"property\\\" ikke som en absolute ting, men som en " +"bunt av rettigheter som er noen ganger knyttet til bestemte objekter. Dermed " +"gir min \\\"eiendom rett\\\" til bilen min meg retten til eksklusiv bruk, " +"men ikke rettigheten til Ã¥ kjøre pÃ¥ 150 miles i timen. Ã¥ koble den vanlige " +"betydningen av \\\"eiendom\\\" til \\\"advokat talk\\\" beste innsats, kan " +"du se bruce ackerman, privat eiendom og grunnloven (new haven: yale " +"university press, 1977), 26­27." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"While \"creative property\" is certainly \"property\" in a nerdy and precise " +"sense that lawyers are trained to understand,<placeholder type=\"footnote\" " +"id=\"0\"/> it has never been the case, nor should it be, that \"creative " +"property owners\" have been \"accorded the same rights and protection " +"resident in all other property owners.\" Indeed, if creative property owners " +"were given the same rights as all other property owners, that would effect a " +"radical, and radically undesirable, change in our tradition." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Valenti knows this. But he speaks for an industry that cares squat for our " +"tradition and the values it represents. He speaks for an industry that is " +"instead fighting to restore the tradition that the British overturned in " +"1710. In the world that Valenti's changes would create, a powerful few would " +"exercise powerful control over how our creative culture would develop." +msgstr "" +"Valenti vet dette. men han taler for en bransje som bryr seg undersetsig om " +"vÃ¥r tradisjon og verdiene den representerer. han snakker for en bransje som " +"er i stedet kjemper for Ã¥ gjenopprette tradisjon som britene overturned i " +"1710. i verden som vil opprette valenti's endringer, vil noen kraftige utøve " +"kraftig kontroll over hvordan vÃ¥r kreative kultur ville utvikle." + +#. PAGE BREAK 130 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I have two purposes in this chapter. The first is to convince you that, " +"historically, Valenti's claim is absolutely wrong. The second is to convince " +"you that it would be terribly wrong for us to reject our history. We have " +"always treated rights in creative property differently from the rights " +"resident in all other property owners. They have never been the same. And " +"they should never be the same, because, however counterintuitive this may " +"seem, to make them the same would be to fundamentally weaken the opportunity " +"for new creators to create. Creativity depends upon the owners of " +"creativity having less than perfect control." +msgstr "" +"Jeg har to formÃ¥l i dette kapitlet. først er Ã¥ overbevise deg om at, " +"historisk valenti's krav er helt galt. andre er Ã¥ overbevise deg om at det " +"ville være veldig galt for oss Ã¥ avvise vÃ¥r historie. Vi har alltid " +"behandlet rettigheter i kreative egenskapen annerledes fra rettigheter som " +"er bosatt i alle andre bolig. de har aldri vært den samme. og de aldri skal " +"være den samme, fordi, men counterintuitive dette kan synes Ã¥ gjøre dem det " +"samme vil være Ã¥ svekke fundamentalt mulighet for nye skapere Ã¥ lage. " +"kreativitet, avhenger av eierne av kreativitet som har mindre enn perfekt " +"kontroll." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Organizations such as the MPAA, whose board includes the most powerful of " +"the old guard, have little interest, their rhetoric notwithstanding, in " +"assuring that the new can displace them. No organization does. No person " +"does. (Ask me about tenure, for example.) But what's good for the MPAA is " +"not necessarily good for America. A society that defends the ideals of free " +"culture must preserve precisely the opportunity for new creativity to " +"threaten the old. To get just a hint that there is something fundamentally " +"wrong in Valenti's argument, we need look no further than the United States " +"Constitution itself." +msgstr "" +"organisasjoner som mpaa, der styret bestÃ¥r av den mektigste av de gamle " +"garde, har liten interesse, deres retorikk til tross for, i Ã¥ sikre at den " +"nye kan forskyve dem. Ingen organisasjon gjør. Ingen person gjør. (spør meg " +"om var ansatt, for eksempel.) men hva er bra for mpaa er ikke nødvendigvis " +"bra for Amerika. et samfunn som forsvarer idealene om fri kultur mÃ¥ " +"videreføre nøyaktig mulighet for nye kreativitet Ã¥ true gamle. for Ã¥ fÃ¥ bare " +"et snev at det er noe fundamentalt galt i valenti's-argumentet, mÃ¥ vi se " +"lenger enn USA Grunnloven selv." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The framers of our Constitution loved \"property.\" Indeed, so strongly did " +"they love property that they built into the Constitution an important " +"requirement. If the government takes your property--if it condemns your " +"house, or acquires a slice of land from your farm--it is required, under the " +"Fifth Amendment's \"Takings Clause,\" to pay you \"just compensation\" for " +"that taking. The Constitution thus guarantees that property is, in a certain " +"sense, sacred. It cannot ever be taken from the property owner unless the " +"government pays for the privilege." +msgstr "" + +#. PAGE BREAK 131 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet the very same Constitution speaks very differently about what Valenti " +"calls \"creative property.\" In the clause granting Congress the power to " +"create \"creative property,\" the Constitution requires that after a " +"\"limited time,\" Congress take back the rights that it has granted and set " +"the \"creative property\" free to the public domain. Yet when Congress does " +"this, when the expiration of a copyright term \"takes\" your copyright and " +"turns it over to the public domain, Congress does not have any obligation to " +"pay \"just compensation\" for this \"taking.\" Instead, the same " +"Constitution that requires compensation for your land requires that you lose " +"your \"creative property\" right without any compensation at all." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Constitution thus on its face states that these two forms of property " +"are not to be accorded the same rights. They are plainly to be treated " +"differently. Valenti is therefore not just asking for a change in our " +"tradition when he argues that creative-property owners should be accorded " +"the same rights as every other property-right owner. He is effectively " +"arguing for a change in our Constitution itself." +msgstr "" +"grunnlov dermed pÃ¥ sitt ansikt sier at disse to former for egenskapen ikke " +"skal fÃ¥r de samme rettighetene. de er tydelig Ã¥ bli behandlet annerledes. " +"Valenti er derfor ikke bare ber om en endring i vÃ¥r tradisjon nÃ¥r han hevder " +"at creative-bolig bør substansiell de samme rettighetene som hver andre " +"eiendomsrett eier. Han er effektivt kranglet for en endring i vÃ¥re " +"Grunnloven selv." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Arguing for a change in our Constitution is not necessarily wrong. There " +"was much in our original Constitution that was plainly wrong. The " +"Constitution of 1789 entrenched slavery; it left senators to be appointed " +"rather than elected; it made it possible for the electoral college to " +"produce a tie between the president and his own vice president (as it did in " +"1800). The framers were no doubt extraordinary, but I would be the first to " +"admit that they made big mistakes. We have since rejected some of those " +"mistakes; no doubt there could be others that we should reject as well. So " +"my argument is not simply that because Jefferson did it, we should, too." +msgstr "" +"kranglet for en endring i vÃ¥r grunnlov er ikke nødvendigvis galt. Det var " +"mye i vÃ¥r opprinnelige grunnlov som var tydelig galt. Grunnloven av 1789 " +"entrenched slaveri, det venstre senators du kan være utnevnt stedet valgt; " +"det gjorde det mulig for de valg Agder Ã¥ produsere uavgjort mellom president " +"og sin egen vice president (som det gjorde i 1800). underskrev var uten tvil " +"ekstraordinære, men jeg vil være først til Ã¥ innrømme at de gjorde en stor " +"feil. Vi har siden avvist noen av disse feilene; ingen tvil om kan det være " +"andre som vi bør avvise ogsÃ¥. sÃ¥ mitt argument ikke er bare at fordi " +"jefferson gjorde det, vi bør, ogsÃ¥." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Instead, my argument is that because Jefferson did it, we should at least " +"try to understand why. Why did the framers, fanatical property types that " +"they were, reject the claim that creative property be given the same rights " +"as all other property? Why did they require that for creative property there " +"must be a public domain?" +msgstr "" +"i stedet, mitt argument er at fordi jefferson gjorde det, vi bør i det " +"minste prøver Ã¥ forstÃ¥ hvorfor. Hvorfor underskrev, fanatical egenskapstyper " +"som de var, avvise pÃ¥standen om at creative egenskapen gis samme rettigheter " +"som alle andre eiendom? Hvorfor de krever at for kreative egenskapen det mÃ¥ " +"være et frivare?" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"To answer this question, we need to get some perspective on the history of " +"these \"creative property\" rights, and the control that they enabled. Once " +"we see clearly how differently these rights have been defined, we will be in " +"a better position to ask the question that should be at the core of this " +"war: Not whether creative property should be protected, but how. Not whether " +"we will enforce the rights the law gives to creative-property owners, but " +"what the particular mix of rights ought to be. Not whether artists should be " +"paid, but whether institutions designed to assure that artists get paid need " +"also control how culture develops." +msgstr "" + +#. PAGE BREAK 132 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"To answer these questions, we need a more general way to talk about how " +"property is protected. More precisely, we need a more general way than the " +"narrow language of the law allows. In Code and Other Laws of Cyberspace, I " +"used a simple model to capture this more general perspective. For any " +"particular right or regulation, this model asks how four different " +"modalities of regulation interact to support or weaken the right or " +"regulation. I represented it with this diagram:" +msgstr "" +"Hvis du vil svare pÃ¥ disse spørsmÃ¥lene, trenger vi en mer generell mÃ¥te Ã¥ " +"snakke om hvordan egenskapen er beskyttet. mer presist, trenger vi en mer " +"generell mÃ¥te enn smale sprÃ¥ket i loven tillater. i koden og andre lover av " +"cyberspace brukte jeg en enkel modell for Ã¥ fange dette mer generelle " +"perspektivet. for en bestemt rettighet eller regulering, denne modellen spør " +"hvordan fire forskjellige modalitetene for regulering samhandler for Ã¥ " +"støtte eller svekke høyre eller regulering. Jeg representerte det med dette " +"diagrammet:" + +#. type: Content of: <book><chapter><sect1><figure> +msgid "<graphic fileref=\"1331.jpg\"></graphic>" +msgstr "" + +#. PAGE BREAK 133 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"At the center of this picture is a regulated dot: the individual or group " +"that is the target of regulation, or the holder of a right. (In each case " +"throughout, we can describe this either as regulation or as a right. For " +"simplicity's sake, I will speak only of regulations.) The ovals represent " +"four ways in which the individual or group might be regulated-- either " +"constrained or, alternatively, enabled. Law is the most obvious constraint " +"(to lawyers, at least). It constrains by threatening punishments after the " +"fact if the rules set in advance are violated. So if, for example, you " +"willfully infringe Madonna's copyright by copying a song from her latest CD " +"and posting it on the Web, you can be punished with a $150,000 fine. The " +"fine is an ex post punishment for violating an ex ante rule. It is imposed " +"by the state." +msgstr "" +"midt pÃ¥ dette bildet er et regulert punkt: pÃ¥ personen eller gruppen som er " +"mÃ¥let for regulering eller innehaveren av en rettighet. (i hvert fall i " +"hele, vi kan beskrive dette som regulering eller som en rett. for enkelhet " +"skyld, vil jeg snakke eneste av forskrifter.) ellipser representerer fire " +"mÃ¥ter der personen eller gruppen kan reguleres--enten begrenset eller, " +"alternativt, aktivert. loven er den mest Ã¥penbare begrensningen (til " +"advokater, minst). den begrenser ved truende straffene etter faktum Hvis " +"reglene satt pÃ¥ forhÃ¥nd er brutt. sÃ¥ hvis for eksempel du willfully krenke " +"madonna's copyright ved Ã¥ kopiere en sang fra hennes siste CD-ROMen, og " +"bokføre det\\/den pÃ¥ weben, kan du bli straffet med en $150.000 fine. fine " +"er en ex post straff for Ã¥ bryte en ex ante regelen. Det er pÃ¥lagt av staten." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Norms are a different kind of constraint. They, too, punish an individual " +"for violating a rule. But the punishment of a norm is imposed by a " +"community, not (or not only) by the state. There may be no law against " +"spitting, but that doesn't mean you won't be punished if you spit on the " +"ground while standing in line at a movie. The punishment might not be harsh, " +"though depending upon the community, it could easily be more harsh than many " +"of the punishments imposed by the state. The mark of the difference is not " +"the severity of the rule, but the source of the enforcement." +msgstr "" +"normer er en annen type betingelse. de, ogsÃ¥, straffe en person for Ã¥ bryte " +"en regel. men straffen av en normen er pÃ¥lagt av et fellesskap, ikke (eller " +"ikke bare) av staten. Det finnes kanskje ingen lov mot spytter, men det " +"betyr ikke at du ikke vil bli straffet dersom du spytte pÃ¥ bakken mens du " +"stÃ¥r i kø pÃ¥ en film. straff kan ikke være harde, men avhengig av samfunnet, " +"det kan lett bli mer harde enn mange av straffene pÃ¥lagt av staten. Merk av " +"differansen er ikke av alvorlighetsgraden av regelen, men kilden for " +"hÃ¥ndhevelse." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The market is a third type of constraint. Its constraint is effected through " +"conditions: You can do X if you pay Y; you'll be paid M if you do N. These " +"constraints are obviously not independent of law or norms--it is property " +"law that defines what must be bought if it is to be taken legally; it is " +"norms that say what is appropriately sold. But given a set of norms, and a " +"background of property and contract law, the market imposes a simultaneous " +"constraint upon how an individual or group might behave." +msgstr "" +"markedet er en tredje type betingelse. betingelsen er berørt gjennom " +"betingelser: du kan gjøre x Hvis du betaler y; vil du fÃ¥ betalt m Hvis du " +"gjør n. slike betingelser er Ã¥penbart ikke uavhengig av loven eller normer--" +"det er regler som definerer hva mÃ¥ kjøpes Hvis det er Ã¥ bli tatt lovlig; Det " +"er normer som sier hva selges pÃ¥ riktig mÃ¥te. men gitt et sett av normer og " +"bakgrunn av eiendom og kontrakt lov, markedet pÃ¥legger en samtidige " +"begrensning pÃ¥ hvor en person eller gruppe kan oppføre seg." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Finally, and for the moment, perhaps, most mysteriously, \"architecture\"--" +"the physical world as one finds it--is a constraint on behavior. A fallen " +"bridge might constrain your ability to get across a river. Railroad tracks " +"might constrain the ability of a community to integrate its social life. As " +"with the market, architecture does not effect its constraint through ex post " +"punishments. Instead, also as with the market, architecture effects its " +"constraint through simultaneous conditions. These conditions are imposed not " +"by courts enforcing contracts, or by police punishing theft, but by nature, " +"by \"architecture.\" If a 500-pound boulder blocks your way, it is the law " +"of gravity that enforces this constraint. If a $500 airplane ticket stands " +"between you and a flight to New York, it is the market that enforces this " +"constraint." +msgstr "" + +#. PAGE BREAK 134 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"So the first point about these four modalities of regulation is obvious: " +"They interact. Restrictions imposed by one might be reinforced by another. " +"Or restrictions imposed by one might be undermined by another." +msgstr "" +"sÃ¥ det første punktet om disse fire metoder av regulering er Ã¥penbare: de " +"samhandler. restriksjoner pÃ¥lagt av en kan bli forsterket av en annen. eller " +"restriksjoner pÃ¥lagt av en kan bli undergravd av en annen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The second point follows directly: If we want to understand the effective " +"freedom that anyone has at a given moment to do any particular thing, we " +"have to consider how these four modalities interact. Whether or not there " +"are other constraints (there may well be; my claim is not about " +"comprehensiveness), these four are among the most significant, and any " +"regulator (whether controlling or freeing) must consider how these four in " +"particular interact." +msgstr "" +"det andre punktet følger direkte: Hvis vi ønsker Ã¥ forstÃ¥ effektiv friheten " +"som noen har pÃ¥ et gitt øyeblikk Ã¥ gjøre noen bestemt ting, vi har til Ã¥ " +"vurdere hvordan disse fire metoder samhandler. om det er andre betingelser " +"(det kan godt være; min pÃ¥stand er ikke om objektivitet), disse fire er " +"blant de viktigste, og eventuelle regulator (enten kontroll eller frigjør) " +"mÃ¥ vurdere hvordan disse fire spesielt samhandle." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"So, for example, consider the \"freedom\" to drive a car at a high speed. " +"That freedom is in part restricted by laws: speed limits that say how fast " +"you can drive in particular places at particular times. It is in part " +"restricted by architecture: speed bumps, for example, slow most rational " +"drivers; governors in buses, as another example, set the maximum rate at " +"which the driver can drive. The freedom is in part restricted by the market: " +"Fuel efficiency drops as speed increases, thus the price of gasoline " +"indirectly constrains speed. And finally, the norms of a community may or " +"may not constrain the freedom to speed. Drive at 50 mph by a school in your " +"own neighborhood and you're likely to be punished by the neighbors. The same " +"norm wouldn't be as effective in a different town, or at night." +msgstr "" + +#. f3 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "By describing the way law affects the other three modalities, I don't " +#| "mean to suggest that the other three don't affect law. Obviously, they " +#| "do. Law's only distinction is that it alone speaks as if it has a right " +#| "self-consciously to change the other three. The right of the other three " +#| "is more timidly expressed. See Lawrence Lessig, Code: And Other Laws of " +#| "Cyberspace (New York: Basic Books, 1999): 90­95; Lawrence Lessig, \\\"The " +#| "New Chicago School,\\\" Journal of Legal Studies, June 1998." +msgid "" +"By describing the way law affects the other three modalities, I don't mean " +"to suggest that the other three don't affect law. Obviously, they do. Law's " +"only distinction is that it alone speaks as if it has a right self-" +"consciously to change the other three. The right of the other three is more " +"timidly expressed. See Lawrence Lessig, Code: And Other Laws of Cyberspace " +"(New York: Basic Books, 1999): 90­95; Lawrence Lessig, \"The New Chicago " +"School,\" Journal of Legal Studies, June 1998." +msgstr "" +"ved 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 " +"eneste forskjellen er at det alene snakker som om den har en rett " +"selvbevisst til Ã¥ endre de andre tre. høyre for tre andre uttrykkes mer " +"beskjedent. se lawrence lessig, kode: og andre lover av cyberspace (new " +"york: grunnleggende bøker, 1999): 90­95; Lawrence lessig, \\\"den nye chicago " +"skolen,\\\" journal of Jusstudier, Juni 1998." + +#. PAGE BREAK 135 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The final point about this simple model should also be fairly clear: While " +"these four modalities are analytically independent, law has a special role " +"in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in " +"other words, sometimes operates to increase or decrease the constraint of a " +"particular modality. Thus, the law might be used to increase taxes on " +"gasoline, so as to increase the incentives to drive more slowly. The law " +"might be used to mandate more speed bumps, so as to increase the difficulty " +"of driving rapidly. The law might be used to fund ads that stigmatize " +"reckless driving. Or the law might be used to require that other laws be " +"more strict--a federal requirement that states decrease the speed limit, for " +"example--so as to decrease the attractiveness of fast driving." +msgstr "" + +#. type: Content of: <book><chapter><sect1><figure> +msgid "<graphic fileref=\"1361.jpg\"></graphic>" +msgstr "" + +#. f4 +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Some people object to this way of talking about \"liberty.\" They object " +"because their focus when considering the constraints that exist at any " +"particular moment are constraints imposed exclusively by the government. For " +"instance, if a storm destroys a bridge, these people think it is meaningless " +"to say that one's liberty has been restrained. A bridge has washed out, and " +"it's harder to get from one place to another. To talk about this as a loss " +"of freedom, they say, is to confuse the stuff of politics with the vagaries " +"of ordinary life. I don't mean to deny the value in this narrower view, " +"which depends upon the context of the inquiry. I do, however, mean to argue " +"against any insistence that this narrower view is the only proper view of " +"liberty. As I argued in Code, we come from a long tradition of political " +"thought with a broader focus than the narrow question of what the government " +"did when. John Stuart Mill defended freedom of speech, for example, from " +"the tyranny of narrow minds, not from the fear of government prosecution; " +"John Stuart Mill, On Liberty (Indiana: Hackett Publishing Co., 1978), 19. " +"John R. Commons famously defended the economic freedom of labor from " +"constraints imposed by the market; John R. Commons, \"The Right to Work,\" " +"in Malcom Rutherford and Warren J. Samuels, eds., John R. Commons: Selected " +"Essays (London: Routledge: 1997), 62. The Americans with Disabilities Act " +"increases the liberty of people with physical disabilities by changing the " +"architecture of certain public places, thereby making access to those places " +"easier; 42 United States Code, section 12101 (2000). Each of these " +"interventions to change existing conditions changes the liberty of a " +"particular group. The effect of those interventions should be accounted for " +"in order to understand the effective liberty that each of these groups might " +"face." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These constraints can thus change, and they can be changed. To understand " +"the effective protection of liberty or protection of property at any " +"particular moment, we must track these changes over time. A restriction " +"imposed by one modality might be erased by another. A freedom enabled by one " +"modality might be displaced by another.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Why Hollywood Is Right" +msgstr "Hvorfor hollywood er rett" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The most obvious point that this model reveals is just why, or just how, " +"Hollywood is right. The copyright warriors have rallied Congress and the " +"courts to defend copyright. This model helps us see why that rallying makes " +"sense." +msgstr "" +"det mest Ã¥penbare punktet som denne modellen avslører er bare hvorfor eller " +"hvor, hollywood er rett. opphavsrett warriors har rallied Kongressen og " +"domstolene Ã¥ forsvare copyright. Denne modellen hjelper oss se hvorfor denne " +"samlingspunkt fornuftig." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Let's say this is the picture of copyright's regulation before the Internet:" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1371.jpg\"></graphic>" +msgstr "" + +#. PAGE BREAK 136 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"There is balance between law, norms, market, and architecture. The law " +"limits the ability to copy and share content, by imposing penalties on those " +"who copy and share content. Those penalties are reinforced by technologies " +"that make it hard to copy and share content (architecture) and expensive to " +"copy and share content (market). Finally, those penalties are mitigated by " +"norms we all recognize--kids, for example, taping other kids' records. These " +"uses of copyrighted material may well be infringement, but the norms of our " +"society (before the Internet, at least) had no problem with this form of " +"infringement." +msgstr "" +"Det er balansen mellom lov, normer, markedet og arkitektur. loven begrenser " +"muligheten til Ã¥ kopiere og dele innhold, ved Ã¥ angi strafferammer for de " +"som kopiere og dele innhold. disse straffer er forsterket av teknologier som " +"gjør det vanskelig Ã¥ kopiere og dele innhold (arkitektur) og det er dyrt Ã¥ " +"kopiere og dele innhold (markedet). til slutt, disse straffer er mitigated " +"ved normer vi gjenkjenner--barn, for eksempel taping andre barn poster. " +"disse bruk av opphavsrettsbeskyttet materiale kan være brudd, men normer for " +"vÃ¥rt samfunn (før Internett, minst) hadde ingen problemer med denne form for " +"krenkelse av." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Enter the Internet, or, more precisely, technologies such as MP3s and p2p " +"sharing. Now the constraint of architecture changes dramatically, as does " +"the constraint of the market. And as both the market and architecture relax " +"the regulation of copyright, norms pile on. The happy balance (for the " +"warriors, at least) of life before the Internet becomes an effective state " +"of anarchy after the Internet." +msgstr "" +"Angi Internett eller, mer presist, teknologier som MP3-er og p2p fildeling. " +"nÃ¥ begrensningen av arkitektur endres dramatisk, som gjør begrensningen av " +"markedet. og som bÃ¥de markedet og arkitektur kan du slappe av med regulering " +"av copyright, normer haug pÃ¥. happy saldoen (for krigere, minst) av livet " +"før Internett blir en effektiv stat av anarchy etter Internett." + +#. PAGE BREAK 137 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Thus the sense of, and justification for, the warriors' response. " +"Technology has changed, the warriors say, and the effect of this change, " +"when ramified through the market and norms, is that a balance of protection " +"for the copyright owners' rights has been lost. This is Iraq after the fall " +"of Saddam, but this time no government is justifying the looting that " +"results." +msgstr "" +"SÃ¥ledes følelse av, og den begrunnelsen for warriors' svar. teknologi er " +"endret, krigere, sier, og effekten av denne endringen, nÃ¥r ramified gjennom " +"markedet og normer, er at en balanse av beskyttelse for opphavsrett eiernes " +"rettigheter har gÃ¥tt tapt. Dette er Irak etter fallet av saddam, men denne " +"gangen ingen regjering er rettferdiggjørende looting resultater." + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1381.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Neither this analysis nor the conclusions that follow are new to the " +"warriors. Indeed, in a \"White Paper\" prepared by the Commerce Department " +"(one heavily influenced by the copyright warriors) in 1995, this mix of " +"regulatory modalities had already been identified and the strategy to " +"respond already mapped. In response to the changes the Internet had " +"effected, the White Paper argued (1) Congress should strengthen intellectual " +"property law, (2) businesses should adopt innovative marketing techniques, " +"(3) technologists should push to develop code to protect copyrighted " +"material, and (4) educators should educate kids to better protect copyright." +msgstr "" + +#. PAGE BREAK 138 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This mixed strategy is just what copyright needed--if it was to preserve the " +"particular balance that existed before the change induced by the Internet. " +"And it's just what we should expect the content industry to push for. It is " +"as American as apple pie to consider the happy life you have as an " +"entitlement, and to look to the law to protect it if something comes along " +"to change that happy life. Homeowners living in a flood plain have no " +"hesitation appealing to the government to rebuild (and rebuild again) when a " +"flood (architecture) wipes away their property (law). Farmers have no " +"hesitation appealing to the government to bail them out when a virus " +"(architecture) devastates their crop. Unions have no hesitation appealing to " +"the government to bail them out when imports (market) wipe out the U.S. " +"steel industry." +msgstr "" +"Dette blandet strategi er bare hva copyright needed--Hvis det var Ã¥ bevare " +"bestemt saldoen som eksisterte før endringen indusert av Internett. og det " +"er akkurat hva vi kan forvente innhold industrien Ã¥ presse for. Det er sÃ¥ " +"amerikanske som eplepai Ã¥ vurdere det lykkelige liv som du har som en " +"rettighet, og for Ã¥ se til lov til Ã¥ beskytte det hvis noe kommer til Ã¥ " +"endre den lykkelig liv. huseiere som bor i en flom ren har ingen nøle " +"appellere til regjeringen Ã¥ gjenoppbygge (og gjenoppbygging igjen) nÃ¥r en " +"flom (arkitektur) tørke bort deres eiendom (lov). bønder har ingen nøle " +"appellere til regjeringen Ã¥ kausjon dem ut nÃ¥r et virus (arkitektur) " +"devastates deres Beskjær. fagforeninger har ingen nøle appellere til " +"regjeringen Ã¥ kausjon dem. NÃ¥r import (markedet) tørke ut amerikanske stÃ¥l " +"industrien." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Thus, there's nothing wrong or surprising in the content industry's campaign " +"to protect itself from the harmful consequences of a technological " +"innovation. And I would be the last person to argue that the changing " +"technology of the Internet has not had a profound effect on the content " +"industry's way of doing business, or as John Seely Brown describes it, its " +"\"architecture of revenue.\"" +msgstr "" + +#. f5 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Geoffrey Smith, \"Film vs. Digital: Can Kodak Build a Bridge?\" " +"BusinessWeek online, 2 August 1999, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #23</ulink>. For a more recent analysis of Kodak's " +"place in the market, see Chana R. Schoenberger, \"Can Kodak Make Up for Lost " +"Moments?\" Forbes.com, 6 October 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #24</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But just because a particular interest asks for government support, it " +"doesn't follow that support should be granted. And just because technology " +"has weakened a particular way of doing business, it doesn't follow that the " +"government should intervene to support that old way of doing business. " +"Kodak, for example, has lost perhaps as much as 20 percent of their " +"traditional film market to the emerging technologies of digital cameras." +"<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government " +"should ban digital cameras just to support Kodak? Highways have weakened the " +"freight business for railroads. Does anyone think we should ban trucks from " +"roads for the purpose of protecting the railroads? Closer to the subject of " +"this book, remote channel changers have weakened the \"stickiness\" of " +"television advertising (if a boring commercial comes on the TV, the remote " +"makes it easy to surf ), and it may well be that this change has weakened " +"the television advertising market. But does anyone believe we should " +"regulate remotes to reinforce commercial television? (Maybe by limiting them " +"to function only once a second, or to switch to only ten channels within an " +"hour?)" +msgstr "" + +#. f6 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170­71." +msgid "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170­71." +msgstr "fred warshofsky, patent krigene (new york: wiley, 1994), 170­71." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The obvious answer to these obviously rhetorical questions is no. In a free " +"society, with a free market, supported by free enterprise and free trade, " +"the government's role is not to support one way of doing business against " +"others. Its role is not to pick winners and protect them against loss. If " +"the government did this generally, then we would never have any progress. As " +"Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software " +"patents, \"established companies have an interest in excluding future " +"competitors.\"<placeholder type=\"footnote\" id=\"0\"/> And relative to a " +"startup, established companies also have the means. (Think RCA and FM " +"radio.) A world in which competitors with new ideas must fight not only the " +"market but also the government is a world in which competitors with new " +"ideas will not succeed. It is a world of stasis and increasingly " +"concentrated stagnation. It is the Soviet Union under Brezhnev." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Thus, while it is understandable for industries threatened with new " +"technologies that change the way they do business to look to the government " +"for protection, it is the special duty of policy makers to guarantee that " +"that protection not become a deterrent to progress. It is the duty of policy " +"makers, in other words, to assure that the changes they create, in response " +"to the request of those hurt by changing technology, are changes that " +"preserve the incentives and opportunities for innovation and change." +msgstr "" +"dermed mens det er forstÃ¥elig for bransjer som er truet med nye teknologier " +"som endrer mÃ¥ten de gjør forretninger Ã¥ se til regjeringen for beskyttelse, " +"er det en spesiell plikt for beslutningstakere Ã¥ garantere at beskyttelse " +"ikke blir et avskrekkende til fremgang. Det er plikten til " +"beslutningstakere, med andre ord, Ã¥ sikre at endringene de oppretter, svar " +"pÃ¥ forespørsel fra de vondt ved Ã¥ endre teknologi, er endringer som bevare " +"insentiver og muligheter for innovasjon og endre." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In the context of laws regulating speech--which include, obviously, " +"copyright law--that duty is even stronger. When the industry complaining " +"about changing technologies is asking Congress to respond in a way that " +"burdens speech and creativity, policy makers should be especially wary of " +"the request. It is always a bad deal for the government to get into the " +"business of regulating speech markets. The risks and dangers of that game " +"are precisely why our framers created the First Amendment to our " +"Constitution: \"Congress shall make no law . . . abridging the freedom of " +"speech.\" So when Congress is being asked to pass laws that would \"abridge" +"\" the freedom of speech, it should ask-- carefully--whether such regulation " +"is justified." +msgstr "" + +#. PAGE BREAK 140 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"My argument just now, however, has nothing to do with whether the changes " +"that are being pushed by the copyright warriors are \"justified.\" My " +"argument is about their effect. For before we get to the question of " +"justification, a hard question that depends a great deal upon your values, " +"we should first ask whether we understand the effect of the changes the " +"content industry wants." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "Here's the metaphor that will capture the argument to follow." +msgstr "Her er til metaforen vil fange opp argumentet Ã¥ følge." + +#. type: Content of: <book><chapter><sect1><sect2><para> +#, fuzzy +#| msgid "" +#| "In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist " +#| "Paul Hermann Müller won the Nobel Prize for his work demonstrating the " +#| "insecticidal properties of DDT. By the 1950s, the insecticide was widely " +#| "used around the world to kill disease-carrying pests. It was also used to " +#| "increase farm production." +msgid "" +"In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist Paul " +"Hermann Müller won the Nobel Prize for his work demonstrating the " +"insecticidal properties of DDT. By the 1950s, the insecticide was widely " +"used around the world to kill disease-carrying pests. It was also used to " +"increase farm production." +msgstr "" +"i 1873, ble kjemiske ddt først syntetisert. i 1948, sveitsisk apotek paul " +"hermann müller vant nobel prisen for sitt arbeid demonstrere egenskapene " +"insecticidal av ddt. av 1950-tallet, var det mye brukt insektmiddel rundt om " +"i verden til Ã¥ drepe sykdom-bærer skadedyr. Det ble ogsÃ¥ brukt til Ã¥ øke " +"produksjonen av gÃ¥rden." + +#. type: Content of: <book><chapter><sect1><sect2><para> +#, fuzzy +#| msgid "" +#| "No one doubts that killing disease-carrying pests or increasing crop " +#| "production is a good thing. No one doubts that the work of Müller was " +#| "important and valuable and probably saved lives, possibly millions." +msgid "" +"No one doubts that killing disease-carrying pests or increasing crop " +"production is a good thing. No one doubts that the work of Müller was " +"important and valuable and probably saved lives, possibly millions." +msgstr "" +"ingen tvil at drepte sykdom-bærer skadedyr eller økende beskjære produksjon " +"som er en god ting. ingen tvil at arbeidet med müller var viktig og " +"verdifull og sannsynligvis lagret liv, kanskje millioner." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But in 1962, Rachel Carson published Silent Spring, which argued that DDT, " +"whatever its primary benefits, was also having unintended environmental " +"consequences. Birds were losing the ability to reproduce. Whole chains of " +"the ecology were being destroyed." +msgstr "" +"men i 1962, rachel carson publisert stille vÃ¥ren, som hevdet at ddt, uansett " +"dens primære fordeler, hadde ogsÃ¥ utilsiktede miljømessige konsekvenser. " +"fugler var Ã¥ miste muligheten til Ã¥ reprodusere. hele kjeder av økologi ble " +"blir ødelagt." + +#. type: Content of: <book><chapter><sect1><sect2><para> +#, fuzzy +#| msgid "" +#| "No one set out to destroy the environment. Paul Müller certainly did not " +#| "aim to harm any birds. But the effort to solve one set of problems " +#| "produced another set which, in the view of some, was far worse than the " +#| "problems that were originally attacked. Or more accurately, the problems " +#| "DDT caused were worse than the problems it solved, at least when " +#| "considering the other, more environmentally friendly ways to solve the " +#| "problems that DDT was meant to solve." +msgid "" +"No one set out to destroy the environment. Paul Müller certainly did not aim " +"to harm any birds. But the effort to solve one set of problems produced " +"another set which, in the view of some, was far worse than the problems that " +"were originally attacked. Or more accurately, the problems DDT caused were " +"worse than the problems it solved, at least when considering the other, more " +"environmentally friendly ways to solve the problems that DDT was meant to " +"solve." +msgstr "" +"ingen fastsatt til Ã¥ ødelegge miljøet. Paul müller sikkert ikke mÃ¥l Ã¥ skade " +"noen fugler. men arbeidet med Ã¥ løse ett sett med problemer produsert et " +"annet sett som i visningen av noen, var langt verre enn problemene som " +"opprinnelig ble angrepet. eller mer nøyaktig problemer ddt forÃ¥rsaket var " +"verre enn problemer det løst, minst nÃ¥r de vurderer den andre, mer " +"miljøvennlig mÃ¥ten Ã¥ løse problemer som ddt var ment Ã¥ løse." + +#. f7 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See, for example, James Boyle, \"A Politics of Intellectual Property: " +"Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87." +msgstr "" + +#. PAGE BREAK 141 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"It is to this image precisely that Duke University law professor James Boyle " +"appeals when he argues that we need an \"environmentalism\" for culture." +"<placeholder type=\"footnote\" id=\"0\"/> His point, and the point I want to " +"develop in the balance of this chapter, is not that the aims of copyright " +"are flawed. Or that authors should not be paid for their work. Or that music " +"should be given away \"for free.\" The point is that some of the ways in " +"which we might protect authors will have unintended consequences for the " +"cultural environment, much like DDT had for the natural environment. And " +"just as criticism of DDT is not an endorsement of malaria or an attack on " +"farmers, so, too, is criticism of one particular set of regulations " +"protecting copyright not an endorsement of anarchy or an attack on authors. " +"It is an environment of creativity that we seek, and we should be aware of " +"our actions' effects on the environment." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"My argument, in the balance of this chapter, tries to map exactly this " +"effect. No doubt the technology of the Internet has had a dramatic effect on " +"the ability of copyright owners to protect their content. But there should " +"also be little doubt that when you add together the changes in copyright law " +"over time, plus the change in technology that the Internet is undergoing " +"just now, the net effect of these changes will not be only that copyrighted " +"work is effectively protected. Also, and generally missed, the net effect of " +"this massive increase in protection will be devastating to the environment " +"for creativity." +msgstr "" +"mitt argument, i balanse av dette kapitlet, prøver Ã¥ tilordne nøyaktig denne " +"effekten. teknologi pÃ¥ Internett har ingen tvil hadde en dramatisk effekt pÃ¥ " +"evnen til eiere av opphavsretter Ã¥ beskytte innholdet sitt. men det bør ogsÃ¥ " +"være liten tvil om at nÃ¥r du legger sammen endringene i lov om opphavsrett " +"over tid, i tillegg til endringen i teknologi som Internett er under akkurat " +"nÃ¥, netto effekt av disse endringene vil ikke bare at opphavsrettsbeskyttet " +"arbeid effektivt er beskyttet. ogsÃ¥, og generelt savnet, vil netto effekt av " +"denne massive økningen i beskyttelse være ødeleggende for miljøet for " +"kreativitet." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In a line: To kill a gnat, we are spraying DDT with consequences for free " +"culture that will be far more devastating than that this gnat will be lost." +msgstr "" +"i en linje: for Ã¥ drepe en mygg, er vi sprøyting ddt med konsekvenser, for " +"fri kultur som vil være langt mer ødeleggende enn denne mygg, vil gÃ¥ tapt." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Beginnings" +msgstr "begynnelse" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"America copied English copyright law. Actually, we copied and improved " +"English copyright law. Our Constitution makes the purpose of \"creative " +"property\" rights clear; its express limitations reinforce the English aim " +"to avoid overly powerful publishers." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The power to establish \"creative property\" rights is granted to Congress " +"in a way that, for our Constitution, at least, is very odd. Article I, " +"section 8, clause 8 of our Constitution states that:" +msgstr "" + +#. PAGE BREAK 142 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Congress has the power to promote the Progress of Science and useful Arts, " +"by securing for limited Times to Authors and Inventors the exclusive Right " +"to their respective Writings and Discoveries. We can call this the " +"\"Progress Clause,\" for notice what this clause does not say. It does not " +"say Congress has the power to grant \"creative property rights.\" It says " +"that Congress has the power to promote progress. The grant of power is its " +"purpose, and its purpose is a public one, not the purpose of enriching " +"publishers, nor even primarily the purpose of rewarding authors." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The Progress Clause expressly limits the term of copyrights. As we saw in " +"chapter 6, the English limited the term of copyright so as to assure that a " +"few would not exercise disproportionate control over culture by exercising " +"disproportionate control over publishing. We can assume the framers followed " +"the English for a similar purpose. Indeed, unlike the English, the framers " +"reinforced that objective, by requiring that copyrights extend \"to Authors" +"\" only." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The design of the Progress Clause reflects something about the " +"Constitution's design in general. To avoid a problem, the framers built " +"structure. To prevent the concentrated power of publishers, they built a " +"structure that kept copyrights away from publishers and kept them short. To " +"prevent the concentrated power of a church, they banned the federal " +"government from establishing a church. To prevent concentrating power in the " +"federal government, they built structures to reinforce the power of the " +"states--including the Senate, whose members were at the time selected by the " +"states, and an electoral college, also selected by the states, to select the " +"president. In each case, a structure built checks and balances into the " +"constitutional frame, structured to prevent otherwise inevitable " +"concentrations of power." +msgstr "" +"utformingen av fremdriften-setningsdelen gjenspeiler noe om grunnlovens " +"design generelt. for Ã¥ unngÃ¥ et problem, bygget underskrev struktur. Hvis du " +"vil hindre at konsentrert strøm av utgivere, bygget de en struktur som holdt " +"opphavsrett fra utgivere og holdt dem kort. Hvis du vil hindre at " +"konsentrert strøm av en kirke, forbudt de den føderale regjeringen fra Ã¥ " +"etablere en kirke. Ã¥ hindre konsentrere seg makten i den føderale " +"regjeringen, de bygget strukturer for Ã¥ forsterke kraften i USA--inkludert " +"Senatet, der medlemmene var pÃ¥ tiden som er valgt av USA, og en valg " +"college, ogsÃ¥ valgt av USA, Ã¥ velge presidenten. i hvert tilfelle, en " +"struktur som ble bygd kontrollerer og saldoer i konstitusjonelle rammen, " +"strukturert for Ã¥ hindre at ellers uunngÃ¥elig konsentrasjoner av makt." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I doubt the framers would recognize the regulation we call \"copyright\" " +"today. The scope of that regulation is far beyond anything they ever " +"considered. To begin to understand what they did, we need to put our " +"\"copyright\" in context: We need to see how it has changed in the 210 years " +"since they first struck its design." +msgstr "" + +#. PAGE BREAK 143 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Some of these changes come from the law: some in light of changes in " +"technology, and some in light of changes in technology given a particular " +"concentration of market power. In terms of our model, we started here:" +msgstr "" +"noen av disse endringene kommer fra loven: noen i lys av endringer i " +"teknologi, og noen i lys av endringer i teknologi gitt en bestemt " +"konsentrasjon av markedets makt. NÃ¥r det gjelder vÃ¥r modell startet vi her:" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1441.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "We will end here:" +msgstr "Vi vil ende her:" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1442.jpg\"></graphic>" +msgstr "" + +#. PAGE BREAK 144 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "Let me explain how." +msgstr "La meg forklare hvordan." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Law: Duration" +msgstr "loven: varighet" + +#. f8 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "William W. Crosskey, Politics and the Constitution in the History of the " +#| "United States (London: Cambridge University Press, 1953), vol. 1, 485­86: " +#| "\\\"extinguish[ing], by plain implication of `the supreme Law of the " +#| "Land,' the perpetual rights which authors had, or were supposed by some " +#| "to have, under the Common Law\\\" (emphasis added)." +msgid "" +"William W. Crosskey, Politics and the Constitution in the History of the " +"United States (London: Cambridge University Press, 1953), vol. 1, 485­86: " +"\"extinguish[ing], by plain implication of `the supreme Law of the Land,' " +"the perpetual rights which authors had, or were supposed by some to have, " +"under the Common Law\" (emphasis added)." +msgstr "" +"William w. crosskey, politikk og Grunnloven i historien av USA (london: " +"cambridge university press, 1953), vol. 1, 485­86: \\\"slukke [ing], ved " +"vanlig implikasjon av\\\"øverstkommanderende lov av land\\\", evigvarende " +"rettigheter som forfattere hadde eller skulle etter noen Ã¥ ha, under felles " +"lov\\\" (vekt legges til)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"When the first Congress enacted laws to protect creative property, it faced " +"the same uncertainty about the status of creative property that the English " +"had confronted in 1774. Many states had passed laws protecting creative " +"property, and some believed that these laws simply supplemented common law " +"rights that already protected creative authorship.<placeholder type=" +"\"footnote\" id=\"0\"/> This meant that there was no guaranteed public " +"domain in the United States in 1790. If copyrights were protected by the " +"common law, then there was no simple way to know whether a work published in " +"the United States was controlled or free. Just as in England, this lingering " +"uncertainty would make it hard for publishers to rely upon a public domain " +"to reprint and distribute works." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"That uncertainty ended after Congress passed legislation granting " +"copyrights. Because federal law overrides any contrary state law, federal " +"protections for copyrighted works displaced any state law protections. Just " +"as in England the Statute of Anne eventually meant that the copyrights for " +"all English works expired, a federal statute meant that any state copyrights " +"expired as well." +msgstr "" +"det usikkerheten endte etter congress passert lovgivning gi " +"opphavsrettigheter. fordi føderal lov overstyrer lovverket strid tilstand, " +"fortrenges føderale beskyttelser av opphavsrettslig beskyttet verk noen " +"staten lov beskyttelse. akkurat som i england betydde Vedtektene for anne " +"til slutt at opphavsretten for alle engelsk arbeider utløpt, en føderale " +"vedtekter betydde at staten opphavsrettigheter utløpt ogsÃ¥." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In 1790, Congress enacted the first copyright law. It created a federal " +"copyright and secured that copyright for fourteen years. If the author was " +"alive at the end of that fourteen years, then he could opt to renew the " +"copyright for another fourteen years. If he did not renew the copyright, his " +"work passed into the public domain." +msgstr "" +"i 1790 vedtatt Kongressen den første lov om opphavsrett. den opprettet en " +"føderale copyright og sikret at copyright for fjorten Ã¥r. Hvis forfatteren " +"var Live pÃ¥ slutten av at fjorten Ã¥r, kan han velge for Ã¥ fornye " +"opphavsretten for en annen fjorten Ã¥r. Hvis han ikke fornye opphavsretten, " +"bestÃ¥tt hans arbeid i public domain." + +#. f9 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Although 13,000 titles were published in the United States from 1790 to " +"1799, only 556 copyright registrations were filed; John Tebbel, A History of " +"Book Publishing in the United States, vol. 1, The Creation of an Industry, " +"1630­1865 (New York: Bowker, 1972), 141. Of the 21,000 imprints recorded " +"before 1790, only twelve were copyrighted under the 1790 act; William J. " +"Maher, Copyright Term, Retrospective Extension and the Copyright Law of 1790 " +"in Historical Context, 7­10 (2002), available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #25</ulink>. Thus, the overwhelming majority of " +"works fell immediately into the public domain. Even those works that were " +"copyrighted fell into the public domain quickly, because the term of " +"copyright was short. The initial term of copyright was fourteen years, with " +"the option of renewal for an additional fourteen years. Copyright Act of May " +"31, 1790, §1, 1 stat. 124." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"While there were many works created in the United States in the first ten " +"years of the Republic, only 5 percent of the works were actually registered " +"under the federal copyright regime. Of all the work created in the United " +"States both before 1790 and from 1790 through 1800, 95 percent immediately " +"passed into the public domain; the balance would pass into the pubic domain " +"within twenty-eight years at most, and more likely within fourteen years." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 145 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This system of renewal was a crucial part of the American system of " +"copyright. It assured that the maximum terms of copyright would be granted " +"only for works where they were wanted. After the initial term of fourteen " +"years, if it wasn't worth it to an author to renew his copyright, then it " +"wasn't worth it to society to insist on the copyright, either." +msgstr "" +"Dette systemet fornyelse var en avgjørende del av det amerikanske systemet " +"av opphavsrett. det sikret at maksimal vilkÃ¥rene i copyright ville gis bare " +"for arbeider der de ble ønsket. etter den første sikt av fjorten Ã¥r, hvis " +"det ikke var verdt det en forfatter Ã¥ fornye sin opphavsrett, deretter det " +"var ikke verdt det for samfunnet Ã¥ insistere pÃ¥ opphavsretten, enten." + +#. f10 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Few copyright holders ever chose to renew their copyrights. For instance, " +#| "of the 25,006 copyrights registered in 1883, only 894 were renewed in " +#| "1910. For a year-by-year analysis of copyright renewal rates, see Barbara " +#| "A. Ringer, \\\"Study No. 31: Renewal of Copyright,\\\" Studies on " +#| "Copyright, vol. 1 (New York: Practicing Law Institute, 1963), 618. For a " +#| "more recent and comprehensive analysis, see William M. Landes and Richard " +#| "A. Posner, \\\"Indefinitely Renewable Copyright,\\\" University of " +#| "Chicago Law Review 70 (2003): 471, 498­501, and accompanying figures." +msgid "" +"Few copyright holders ever chose to renew their copyrights. For instance, of " +"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For " +"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, " +"\"Study No. 31: Renewal of Copyright,\" Studies on Copyright, vol. 1 (New " +"York: Practicing Law Institute, 1963), 618. For a more recent and " +"comprehensive analysis, see William M. Landes and Richard A. Posner, " +"\"Indefinitely Renewable Copyright,\" University of Chicago Law Review 70 " +"(2003): 471, 498­501, and accompanying figures." +msgstr "" +"noen rettighetshavere valgte noensinne Ã¥ fornye sine opphavsrettigheter. for " +"eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i " +"1910. for et Ã¥r etter Ã¥r analyse av opphavsrett fornyelse priser, kan du se " +"barbara a. ringer, \\\"studere nr. 31: fornyelse av opphavsrett,\\\" studier " +"pÃ¥ opphavsrett, vol. 1 (new york: praktisere loven institute, 1963), 618. " +"Hvis en nyere og omfattende analyse, se william m landes og richard en. " +"Posner, \\\"pÃ¥ ubestemt tid fornybar copyright,\\\" university of chicago " +"lov gÃ¥ gjennom 70 (2003): 471, 498­501 og tilhørende tallene." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Fourteen years may not seem long to us, but for the vast majority of " +"copyright owners at that time, it was long enough: Only a small minority of " +"them renewed their copyright after fourteen years; the balance allowed their " +"work to pass into the public domain.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f11 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "See Ringer, ch. 9, n. 2." +msgstr "se ringer, ch. 9, n. 2." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Even today, this structure would make sense. Most creative work has an " +"actual commercial life of just a couple of years. Most books fall out of " +"print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that " +"happens, the used books are traded free of copyright regulation. Thus the " +"books are no longer effectively controlled by copyright. The only practical " +"commercial use of the books at that time is to sell the books as used books; " +"that use--because it does not involve publication--is effectively free." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In the first hundred years of the Republic, the term of copyright was " +"changed once. In 1831, the term was increased from a maximum of 28 years to " +"a maximum of 42 by increasing the initial term of copyright from 14 years to " +"28 years. In the next fifty years of the Republic, the term increased once " +"again. In 1909, Congress extended the renewal term of 14 years to 28 years, " +"setting a maximum term of 56 years." +msgstr "" +"i de første hundre Ã¥r av republikken ble av copyright endret én gang. i " +"1831, ble begrepet økt fra maksimum 28 Ã¥r til maksimalt 42 ved Ã¥ øke første " +"begrepet av opphavsrett fra 14 Ã¥r til 28 Ã¥r. i de neste femti Ã¥rene av " +"Republikken begrepet økt igjen. i 1909 utvidet Kongressen begrepet fornyelse " +"av 14 Ã¥r til 28 Ã¥r, angi en maksimal periode pÃ¥ 56 Ã¥r." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Then, beginning in 1962, Congress started a practice that has defined " +"copyright law since. Eleven times in the last forty years, Congress has " +"extended the terms of existing copyrights; twice in those forty years, " +"Congress extended the term of future copyrights. Initially, the extensions " +"of existing copyrights were short, a mere one to two years. In 1976, " +"Congress extended all existing copyrights by nineteen years. And in 1998, " +"in the Sonny Bono Copyright Term Extension Act, Congress extended the term " +"of existing and future copyrights by twenty years." +msgstr "" +"sÃ¥, begynner i 1962, Kongressen begynte en praksis som har definert " +"opphavsrett siden. elleve ganger i de siste 40 Ã¥rene, har Kongressen utvidet " +"vilkÃ¥rene i eksisterende opphavsrettigheter; to ganger i de førti Ã¥r utvidet " +"Kongressen begrepet av fremtidige opphavsretten. i utgangspunktet var " +"utvidelser av eksisterende opphavsrettigheter kort, bare ett til to Ã¥r. i " +"1976 utvidet Kongressen alle eksisterende opphavsrettigheter av nitten Ã¥r. " +"og i 1998, i sonny bono opphavsrett begrepet forlengelse loven Kongressen " +"utvidet begrepet av eksisterende og fremtidige opphavsretten av tjue Ã¥r." + +#. PAGE BREAK 146 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The effect of these extensions is simply to toll, or delay, the passing of " +"works into the public domain. This latest extension means that the public " +"domain will have been tolled for thirty-nine out of fifty-five years, or 70 " +"percent of the time since 1962. Thus, in the twenty years after the Sonny " +"Bono Act, while one million patents will pass into the public domain, zero " +"copyrights will pass into the public domain by virtue of the expiration of a " +"copyright term." +msgstr "" +"effekten av disse tilleggene er ganske enkelt Ã¥ tollpenger, eller " +"forsinkelse, bestÃ¥tt av works i public domain. Denne siste utvidelsen betyr " +"at allemannseie vil ha blitt kirkeklokkene for trettini fifty-fem Ã¥r, eller " +"70 prosent av tiden siden 1962. i tjue Ã¥r etter sonny bono loven, mens en " +"million patenter vil passere i den offentlige sfæren, vil dermed null " +"opphavsrett passerer i public domain kraft av utløpet av en opphavsrett sikt." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The effect of these extensions has been exacerbated by another, little-" +"noticed change in the copyright law. Remember I said that the framers " +"established a two-part copyright regime, requiring a copyright owner to " +"renew his copyright after an initial term. The requirement of renewal meant " +"that works that no longer needed copyright protection would pass more " +"quickly into the public domain. The works remaining under protection would " +"be those that had some continuing commercial value." +msgstr "" +"effekten av disse tilleggene har blitt forverret av en annen, lite merke " +"endringen i lov om opphavsrett. Husk jeg sa at underskrev etablert et todelt " +"opphavsrett regime, som krever en rettighetsinnehaveren Ã¥ fornye sin " +"copyright etter en innledende sikt. kravet om fornyelse betydde at verk som " +"ikke lenger nødvendig opphavsrettsbeskyttelse ville passere raskere i public " +"domain. works gjenværende under beskyttelse vil være de som hadde noen " +"vedvarende kommersiell verdi." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The United States abandoned this sensible system in 1976. For all works " +"created after 1978, there was only one copyright term--the maximum term. For " +"\"natural\" authors, that term was life plus fifty years. For corporations, " +"the term was seventy-five years. Then, in 1992, Congress abandoned the " +"renewal requirement for all works created before 1978. All works still under " +"copyright would be accorded the maximum term then available. After the Sonny " +"Bono Act, that term was ninety-five years." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This change meant that American law no longer had an automatic way to assure " +"that works that were no longer exploited passed into the public domain. And " +"indeed, after these changes, it is unclear whether it is even possible to " +"put works into the public domain. The public domain is orphaned by these " +"changes in copyright law. Despite the requirement that terms be \"limited,\" " +"we have no evidence that anything will limit them." +msgstr "" + +#. f12 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"These statistics are understated. Between the years 1910 and 1962 (the first " +"year the renewal term was extended), the average term was never more than " +"thirty-two years, and averaged thirty years. See Landes and Posner, " +"\"Indefinitely Renewable Copyright,\" loc. cit." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The effect of these changes on the average duration of copyright is " +"dramatic. In 1973, more than 85 percent of copyright owners failed to renew " +"their copyright. That meant that the average term of copyright in 1973 was " +"just 32.2 years. Because of the elimination of the renewal requirement, the " +"average term of copyright is now the maximum term. In thirty years, then, " +"the average term has tripled, from 32.2 years to 95 years.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Law: Scope" +msgstr "loven: VirkeomrÃ¥de" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The \"scope\" of a copyright is the range of rights granted by the law. The " +"scope of American copyright has changed dramatically. Those changes are not " +"necessarily bad. But we should understand the extent of the changes if we're " +"to keep this debate in context." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In 1790, that scope was very narrow. Copyright covered only \"maps, charts, " +"and books.\" That means it didn't cover, for example, music or architecture. " +"More significantly, the right granted by a copyright gave the author the " +"exclusive right to \"publish\" copyrighted works. That means someone else " +"violated the copyright only if he republished the work without the copyright " +"owner's permission. Finally, the right granted by a copyright was an " +"exclusive right to that particular book. The right did not extend to what " +"lawyers call \"derivative works.\" It would not, therefore, interfere with " +"the right of someone other than the author to translate a copyrighted book, " +"or to adapt the story to a different form (such as a drama based on a " +"published book)." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This, too, has changed dramatically. While the contours of copyright today " +"are extremely hard to describe simply, in general terms, the right covers " +"practically any creative work that is reduced to a tangible form. It covers " +"music as well as architecture, drama as well as computer programs. It gives " +"the copyright owner of that creative work not only the exclusive right to " +"\"publish\" the work, but also the exclusive right of control over any " +"\"copies\" of that work. And most significant for our purposes here, the " +"right gives the copyright owner control over not only his or her particular " +"work, but also any \"derivative work\" that might grow out of the original " +"work. In this way, the right covers more creative work, protects the " +"creative work more broadly, and protects works that are based in a " +"significant way on the initial creative work." +msgstr "" + +#. PAGE BREAK 148 +#. type: Content of: <book><chapter><sect1><sect2><para> +#, fuzzy +#| msgid "" +#| "At the same time that the scope of copyright has expanded, procedural " +#| "limitations on the right have been relaxed. I've already described the " +#| "complete removal of the renewal requirement in 1992. In addition to the " +#| "renewal requirement, for most of the history of American copyright law, " +#| "there was a requirement that a work be registered before it could receive " +#| "the protection of a copyright. There was also a requirement that any " +#| "copyrighted work be marked either with that famous © or the word " +#| "copyright. And for most of the history of American copyright law, there " +#| "was a requirement that works be deposited with the government before a " +#| "copyright could be secured." +msgid "" +"At the same time that the scope of copyright has expanded, procedural " +"limitations on the right have been relaxed. I've already described the " +"complete removal of the renewal requirement in 1992. In addition to the " +"renewal requirement, for most of the history of American copyright law, " +"there was a requirement that a work be registered before it could receive " +"the protection of a copyright. There was also a requirement that any " +"copyrighted work be marked either with that famous © or the word copyright. " +"And for most of the history of American copyright law, there was a " +"requirement that works be deposited with the government before a copyright " +"could be secured." +msgstr "" +"pÃ¥ samme tid som har utvidet omfanget av copyright, er fremgangsmÃ¥ter for " +"begrensninger til høyre avslappet. Jeg har allerede beskrevet fullstendig " +"fjerning av kravet om fornyelse i 1992. i tillegg til fornyelse behovet, for " +"det meste av historien til amerikansk lov om opphavsrett, det var et krav at " +"et arbeid registreres før den kan motta beskyttelse av opphavsretten. Det " +"var ogsÃ¥ et krav at opphavsrettsbeskyttet arbeid merkes enten med det " +"berømte © eller word-copyright. og for de fleste av historien til amerikansk " +"lov om opphavsrett, det var et krav at works settes med regjeringen før " +"opphavsretten som kan sikres." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The reason for the registration requirement was the sensible understanding " +"that for most works, no copyright was required. Again, in the first ten " +"years of the Republic, 95 percent of works eligible for copyright were never " +"copyrighted. Thus, the rule reflected the norm: Most works apparently didn't " +"need copyright, so registration narrowed the regulation of the law to the " +"few that did. The same reasoning justified the requirement that a work be " +"marked as copyrighted--that way it was easy to know whether a copyright was " +"being claimed. The requirement that works be deposited was to assure that " +"after the copyright expired, there would be a copy of the work somewhere so " +"that it could be copied by others without locating the original author." +msgstr "" +"Ã¥rsaken til registreringskrav var fornuftig forstÃ¥elsen om at for de fleste " +"arbeider, ingen opphavsrett var nødvendig. igjen, i de første ti Ã¥rene av " +"Republikken, 95 prosent av verker som er kvalifisert for opphavsrett ble " +"aldri opphavsrettsbeskyttet. dermed regelen reflektert normen: de fleste " +"works tilsynelatende ikke trenger opphavsrett, slik at registrering " +"begrenses regulering av loven til noen som gjorde. samme begrunnelsen " +"berettiget krav som et verk bli merket som opphavsrettsbeskyttet--mÃ¥ten det " +"var lett Ã¥ vite om en copyright ble hevdet. kravet som fungerer være var " +"avsatt Ã¥ sikre at etter at opphavsretten utløpt, det ville være en kopi av " +"arbeidet et sted slik at den kan kopieres av andre uten Ã¥ finne den " +"opprinnelige forfatteren." + +#. type: Content of: <book><chapter><sect1><sect2><para> +#, fuzzy +#| msgid "" +#| "All of these \\\"formalities\\\" were abolished in the American system " +#| "when we decided to follow European copyright law. There is no requirement " +#| "that you register a work to get a copyright; the copyright now is " +#| "automatic; the copyright exists whether or not you mark your work with a " +#| "©; and the copyright exists whether or not you actually make a copy " +#| "available for others to copy." +msgid "" +"All of these \"formalities\" were abolished in the American system when we " +"decided to follow European copyright law. There is no requirement that you " +"register a work to get a copyright; the copyright now is automatic; the " +"copyright exists whether or not you mark your work with a ©; and the " +"copyright exists whether or not you actually make a copy available for " +"others to copy." +msgstr "" +"alle disse \\\"formaliteter\\\" ble avskaffet i det amerikanske systemet nÃ¥r " +"vi besluttet Ã¥ følge europeiske lov om opphavsrett. Det er ingen krav at du " +"registrerer et arbeid for Ã¥ fÃ¥ en copyright; opphavsretten nÃ¥ er automatisk; " +"opphavsretten finnes om du merker arbeidet med en ©; og opphavsretten finnes " +"om du faktisk lage en kopi tilgjengelig for andre Ã¥ kopiere." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Consider a practical example to understand the scope of these differences." +msgstr "vurdere et praktisk eksempel Ã¥ forstÃ¥ omfanget av disse forskjellene." + +#. f13 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Thomas Bender and David Sampliner, \\\"Poets, Pirates, and the " +#| "Creation of American Literature,\\\" 29 New York University Journal of " +#| "International Law and Politics 255 (1997), and James Gilraeth, ed., " +#| "Federal Copyright Records, 1790­1800 (U.S. G.P.O., 1987)." +msgid "" +"See Thomas Bender and David Sampliner, \"Poets, Pirates, and the Creation of " +"American Literature,\" 29 New York University Journal of International Law " +"and Politics 255 (1997), and James Gilraeth, ed., Federal Copyright Records, " +"1790­1800 (U.S. G.P.O., 1987)." +msgstr "" +"se thomas bender og david sampliner, \\\"poeter, pirater og etableringen av " +"amerikansk litteratur,\\\" 29 new york university journal of internasjonal " +"lov og politikk 255 (1997), og james gilraeth, ed., føderale opphavsrett " +"records, 1790­1800 (US g.p.o., 1987)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"If, in 1790, you wrote a book and you were one of the 5 percent who actually " +"copyrighted that book, then the copyright law protected you against another " +"publisher's taking your book and republishing it without your permission. " +"The aim of the act was to regulate publishers so as to prevent that kind of " +"unfair competition. In 1790, there were 174 publishers in the United States." +"<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act was thus a tiny " +"regulation of a tiny proportion of a tiny part of the creative market in the " +"United States--publishers." +msgstr "" + +#. PAGE BREAK 149 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The act left other creators totally unregulated. If I copied your poem by " +"hand, over and over again, as a way to learn it by heart, my act was totally " +"unregulated by the 1790 act. If I took your novel and made a play based upon " +"it, or if I translated it or abridged it, none of those activities were " +"regulated by the original copyright act. These creative activities remained " +"free, while the activities of publishers were restrained." +msgstr "" +"Fakt venstre andre skaperne helt unregulated. Hvis jeg kopierte din diktet " +"for hÃ¥nd, igjen og igjen, som en mÃ¥te Ã¥ lære det ved hjertet, var min " +"gjerning helt unregulated av 1790 act. Hvis jeg tok romanen og gjorde en " +"spiller som er basert pÃ¥ det, eller hvis jeg har oversatt eller utdrag det, " +"var ingen av disse aktivitetene regulert av opprinnelige copyright act. " +"disse kreative aktivitetene forble gratis, mens aktivitetene til utgivere " +"var behersket." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Today the story is very different: If you write a book, your book is " +"automatically protected. Indeed, not just your book. Every e-mail, every " +"note to your spouse, every doodle, every creative act that's reduced to a " +"tangible form--all of this is automatically copyrighted. There is no need " +"to register or mark your work. The protection follows the creation, not the " +"steps you take to protect it." +msgstr "" +"i dag historien er svært forskjellige: Hvis du skriver en bok, boken er " +"automatisk beskyttet. faktisk, ikke bare i adresseboken. hver e-post, hver " +"merknad til din ektefelle, hver doodle, alle kreative handle som er redusert " +"til en hÃ¥ndgripelig form--alt dette automatisk beskyttet med " +"kopirettigheter. Det er ikke nødvendig Ã¥ registrere deg eller merke arbeidet " +"ditt. beskyttelse følger etablering, ikke trinnene du ta for Ã¥ beskytte den." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"That protection gives you the right (subject to a narrow range of fair use " +"exceptions) to control how others copy the work, whether they copy it to " +"republish it or to share an excerpt." +msgstr "" +"som beskyttelse gir deg rett til (begrenset et smalt spekter av fair use " +"unntak) til Ã¥ kontrollere hvordan andre kopierer arbeidet, om de kopiere den " +"til Ã¥ publisere den pÃ¥ nytt, eller for Ã¥ dele et utdrag." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"That much is the obvious part. Any system of copyright would control " +"competing publishing. But there's a second part to the copyright of today " +"that is not at all obvious. This is the protection of \"derivative rights.\" " +"If you write a book, no one can make a movie out of your book without " +"permission. No one can translate it without permission. CliffsNotes can't " +"make an abridgment unless permission is granted. All of these derivative " +"uses of your original work are controlled by the copyright holder. The " +"copyright, in other words, is now not just an exclusive right to your " +"writings, but an exclusive right to your writings and a large proportion of " +"the writings inspired by them." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"It is this derivative right that would seem most bizarre to our framers, " +"though it has become second nature to us. Initially, this expansion was " +"created to deal with obvious evasions of a narrower copyright. If I write a " +"book, can you change one word and then claim a copyright in a new and " +"different book? Obviously that would make a joke of the copyright, so the " +"law was properly expanded to include those slight modifications as well as " +"the verbatim original work." +msgstr "" +"Det er denne derivat høyre som vil synes mest bisarre til vÃ¥re underskrev, " +"selv om det har blitt andre naturen til oss. i utgangspunktet ble denne " +"ekspansjonen opprettet for Ã¥ hÃ¥ndtere Ã¥penbare evasions av en smalere " +"opphavsrett. Hvis jeg skriver en bok, kan du endre ett ord og deretter " +"hevder en opphavsrett i en ny og annerledes bok? som ville selvsagt gjøre en " +"spøk av opphavsretten, slik loven ble riktig utvidet til Ã¥ omfatte disse smÃ¥ " +"endringer, sÃ¥ vel som ordrett opprinnelige arbeidet." + +#. f14 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, July/August 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #26</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In preventing that joke, the law created an astonishing power within a free " +"culture--at least, it's astonishing when you understand that the law applies " +"not just to the commercial publisher but to anyone with a computer. I " +"understand the wrong in duplicating and selling someone else's work. But " +"whatever that wrong is, transforming someone else's work is a different " +"wrong. Some view transformation as no wrong at all--they believe that our " +"law, as the framers penned it, should not protect derivative rights at all." +"<placeholder type=\"footnote\" id=\"0\"/> Whether or not you go that far, it " +"seems plain that whatever wrong is involved is fundamentally different from " +"the wrong of direct piracy." +msgstr "" + +#. f15 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Professor Rubenfeld has presented a powerful constitutional argument " +#| "about the difference that copyright law should draw (from the perspective " +#| "of the First Amendment) between mere \\\"copies\\\" and derivative works. " +#| "See Jed Rubenfeld, \\\"The Freedom of Imagination: Copyright's " +#| "Constitutionality,\\\" Yale Law Journal 112 (2002): 1­60 (see especially " +#| "pp. 53­59)." +msgid "" +"Professor Rubenfeld has presented a powerful constitutional argument about " +"the difference that copyright law should draw (from the perspective of the " +"First Amendment) between mere \"copies\" and derivative works. See Jed " +"Rubenfeld, \"The Freedom of Imagination: Copyright's Constitutionality,\" " +"Yale Law Journal 112 (2002): 1­60 (see especially pp. 53­59)." +msgstr "" +"professor rubenfeld har presentert en kraftig konstitusjonelle argument om " +"forskjellen som lov om opphavsrett bør trekke (fra perspektivet til den " +"første endringen) bare \\\"Kopier\\\" og avledede produkter. se jed " +"rubenfeld, \\\"ytringsfriheten fantasi: opphavsrett 's constitutionality,\\" +"\" yale law journal 112 (2002): 1­60 (se spesielt s. 53­59)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Yet copyright law treats these two different wrongs in the same way. I can " +"go to court and get an injunction against your pirating my book. I can go to " +"court and get an injunction against your transformative use of my book." +"<placeholder type=\"footnote\" id=\"0\"/> These two different uses of my " +"creative work are treated the same." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This again may seem right to you. If I wrote a book, then why should you be " +"able to write a movie that takes my story and makes money from it without " +"paying me or crediting me? Or if Disney creates a creature called \"Mickey " +"Mouse,\" why should you be able to make Mickey Mouse toys and be the one to " +"trade on the value that Disney originally created?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These are good arguments, and, in general, my point is not that the " +"derivative right is unjustified. My aim just now is much narrower: simply to " +"make clear that this expansion is a significant change from the rights " +"originally granted." +msgstr "" +"disse er gode argumenter, og generelt, mitt poeng er ikke at derivat høyre " +"er grunnløs. meg sikte akkurat nÃ¥ er mye smalere: bare for Ã¥ gjøre det klart " +"at denne utvidelsen er en betydelig endring fra de opprinnelig rettighetene." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Law and Architecture: Reach" +msgstr "lov og arkitektur: nÃ¥" + +#. f16 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"This is a simplification of the law, but not much of one. The law certainly " +"regulates more than \"copies\"--a public performance of a copyrighted song, " +"for example, is regulated even though performance per se doesn't make a " +"copy; 17 United States Code, section 106(4). And it certainly sometimes " +"doesn't regulate a \"copy\"; 17 United States Code, section 112(a). But the " +"presumption under the existing law (which regulates \"copies;\" 17 United " +"States Code, section 102) is that if there is a copy, there is a right." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Whereas originally the law regulated only publishers, the change in " +"copyright's scope means that the law today regulates publishers, users, and " +"authors. It regulates them because all three are capable of making copies, " +"and the core of the regulation of copyright law is copies.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 151 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"\"Copies.\" That certainly sounds like the obvious thing for copyright law " +"to regulate. But as with Jack Valenti's argument at the start of this " +"chapter, that \"creative property\" deserves the \"same rights\" as all " +"other property, it is the obvious that we need to be most careful about. For " +"while it may be obvious that in the world before the Internet, copies were " +"the obvious trigger for copyright law, upon reflection, it should be obvious " +"that in the world with the Internet, copies should not be the trigger for " +"copyright law. More precisely, they should not always be the trigger for " +"copyright law." +msgstr "" + +#. f17 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Thus, my argument is not that in each place that copyright law extends, we " +"should repeal it. It is instead that we should have a good argument for its " +"extending where it does, and should not determine its reach on the basis of " +"arbitrary and automatic changes caused by technology." +msgstr "" +"SÃ¥ledes, mitt argument er ikke at i hvert sett at lov om opphavsrett " +"utvider, vi bør oppheve den. Det er i stedet at vi bør ha et godt argument " +"for dens utvidelse der den does, og bør ikke avgjøre sin rekkevidde pÃ¥ " +"grunnlag av vilkÃ¥rlig og automatiske endringer forÃ¥rsaket av teknologi." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is perhaps the central claim of this book, so let me take this very " +"slowly so that the point is not easily missed. My claim is that the Internet " +"should at least force us to rethink the conditions under which the law of " +"copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> " +"because it is clear that the current reach of copyright was never " +"contemplated, much less chosen, by the legislators who enacted copyright law." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"We can see this point abstractly by beginning with this largely empty circle." +msgstr "" +"Vi kan se dette punktet abstractly begynner med dette i stor grad tom sirkel." + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1521.jpg\"></graphic>" +msgstr "" + +#. PAGE BREAK 152 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Think about a book in real space, and imagine this circle to represent all " +"its potential uses. Most of these uses are unregulated by copyright law, " +"because the uses don't create a copy. If you read a book, that act is not " +"regulated by copyright law. If you give someone the book, that act is not " +"regulated by copyright law. If you resell a book, that act is not regulated " +"(copyright law expressly states that after the first sale of a book, the " +"copyright owner can impose no further conditions on the disposition of the " +"book). If you sleep on the book or use it to hold up a lamp or let your " +"puppy chew it up, those acts are not regulated by copyright law, because " +"those acts do not make a copy." +msgstr "" +"Tenk pÃ¥ en bok i virkelige rommet, og tenke denne sirkelen til Ã¥ " +"representere alle dens potensial bruker. de fleste av disse bruksomrÃ¥dene er " +"unregulated ved lov om opphavsrett, fordi bruker ikke opprette en kopi. Hvis " +"du leser en bok, er ikke det handle regulert av lov om opphavsrett. Hvis du " +"gir noen boken, er ikke det handle regulert av lov om opphavsrett. Hvis du " +"selge en bok, loven er ikke regulert (lov om opphavsrett uttrykkelig sier at " +"etter første salg av en bok, eieren av opphavsretten kan pÃ¥legge uten " +"ytterligere betingelser om tilstanden i boken). Hvis du sove pÃ¥ boken eller " +"bruke den til Ã¥ holde opp en lampe eller la din valp tygge den opp, vil ikke " +"disse handlinger er regulert av lov om opphavsrett, fordi disse handlinger " +"ikke gjør en kopi." + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1531.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Obviously, however, some uses of a copyrighted book are regulated by " +"copyright law. Republishing the book, for example, makes a copy. It is " +"therefore regulated by copyright law. Indeed, this particular use stands at " +"the core of this circle of possible uses of a copyrighted work. It is the " +"paradigmatic use properly regulated by copyright regulation (see first " +"diagram on next page)." +msgstr "" +"Ã¥penbart, men noen bruker av en opphavsrettsbeskyttet bok er regulert av lov " +"om opphavsrett. republishing boken, for eksempel lager en kopi. Det er " +"derfor regulert av lov om opphavsrett. faktisk stÃ¥r bruk i kjernen av denne " +"kretsen av mulige bruksomrÃ¥der for et opphavsrettslig beskyttet verk. Det er " +"paradigmatic bruk riktig regulert av opphavsrett regulering (se første " +"diagrammet pÃ¥ neste side)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Finally, there is a tiny sliver of otherwise regulated copying uses that " +"remain unregulated because the law considers these \"fair uses.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1541.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These are uses that themselves involve copying, but which the law treats as " +"unregulated because public policy demands that they remain unregulated. You " +"are free to quote from this book, even in a review that is quite negative, " +"without my permission, even though that quoting makes a copy. That copy " +"would ordinarily give the copyright owner the exclusive right to say whether " +"the copy is allowed or not, but the law denies the owner any exclusive right " +"over such \"fair uses\" for public policy (and possibly First Amendment) " +"reasons." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1542.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1551.jpg\"></graphic>" +msgstr "" + +#. PAGE BREAK 154 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In real space, then, the possible uses of a book are divided into three " +"sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that " +"are nonetheless deemed \"fair\" regardless of the copyright owner's views." +msgstr "" + +#. f18 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"I don't mean \"nature\" in the sense that it couldn't be different, but " +"rather that its present instantiation entails a copy. Optical networks need " +"not make copies of content they transmit, and a digital network could be " +"designed to delete anything it copies so that the same number of copies " +"remain." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Enter the Internet--a distributed, digital network where every use of a " +"copyrighted work produces a copy.<placeholder type=\"footnote\" id=\"0\"/> " +"And because of this single, arbitrary feature of the design of a digital " +"network, the scope of category 1 changes dramatically. Uses that before were " +"presumptively unregulated are now presumptively regulated. No longer is " +"there a set of presumptively unregulated uses that define a freedom " +"associated with a copyrighted work. Instead, each use is now subject to the " +"copyright, because each use also makes a copy--category 1 gets sucked into " +"category 2. And those who would defend the unregulated uses of copyrighted " +"work must look exclusively to category 3, fair uses, to bear the burden of " +"this shift." +msgstr "" + +#. PAGE BREAK 155 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"So let's be very specific to make this general point clear. Before the " +"Internet, if you purchased a book and read it ten times, there would be no " +"plausible copyright-related argument that the copyright owner could make to " +"control that use of her book. Copyright law would have nothing to say about " +"whether you read the book once, ten times, or every night before you went to " +"bed. None of those instances of use--reading-- could be regulated by " +"copyright law because none of those uses produced a copy." +msgstr "" +"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 " +"sannsynlig copyright-relaterte argument som eieren av opphavsretten kan " +"gjøre for Ã¥ kontrollere at bruk av hennes bok. lov om opphavsrett har " +"ingenting Ã¥ si om hvorvidt du lese boken en gang, ti ganger eller hver natt " +"før du gikk til sengs. Ingen av disse forekomstene av bruk--lesing--kan " +"reguleres av lov om opphavsrett, fordi ingen av de bruker produsert en kopi." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But the same book as an e-book is effectively governed by a different set of " +"rules. Now if the copyright owner says you may read the book only once or " +"only once a month, then copyright law would aid the copyright owner in " +"exercising this degree of control, because of the accidental feature of " +"copyright law that triggers its application upon there being a copy. Now if " +"you read the book ten times and the license says you may read it only five " +"times, then whenever you read the book (or any portion of it) beyond the " +"fifth time, you are making a copy of the book contrary to the copyright " +"owner's wish." +msgstr "" +"men den samme bok som en e-bok styres effektivt av et annet sett med regler. " +"nÃ¥ hvis eieren av opphavsretten sier du kan lese boken bare én gang, eller " +"bare en gang i mÃ¥neden, sÃ¥ lov om opphavsrett skulle hjelpe eieren av " +"opphavsretten i utøvelse slik grad av kontroll, pÃ¥ grunn av funksjonen " +"tilfeldig i lov om opphavsrett som utløser sin søknad pÃ¥ det Ã¥ være en kopi. " +"nÃ¥ hvis du lese boken ti ganger, og lisensen sier du kan lese det bare fem " +"ganger, deretter hver gang du leser boken (eller deler av det) utover den " +"femte tid, gjør du en kopi av boken i strid med opphavsrett eierens ønske." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"There are some people who think this makes perfect sense. My aim just now is " +"not to argue about whether it makes sense or not. My aim is only to make " +"clear the change. Once you see this point, a few other points also become " +"clear:" +msgstr "" +"Det er noen folk som tror dette gjør perfekt forstand. meg sikte er akkurat " +"nÃ¥ ikke Ã¥ krangle om hvorvidt det er fornuftig eller ikke. min mÃ¥let er bare " +"Ã¥ gjøre det klart endringen. NÃ¥r du ser dette punktet, bli noen andre " +"punkter ogsÃ¥ klar:" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"First, making category 1 disappear is not anything any policy maker ever " +"intended. Congress did not think through the collapse of the presumptively " +"unregulated uses of copyrighted works. There is no evidence at all that " +"policy makers had this idea in mind when they allowed our policy here to " +"shift. Unregulated uses were an important part of free culture before the " +"Internet." +msgstr "" +"Først gjør Kategori 1 forsvinne er ikke noe alle politikk-maker noensinne " +"ment. Kongressen ikke tenke gjennom sammenbruddet av presumptively " +"unregulated bruk av opphavsrettslig beskyttet verk. Det er ingen bevis pÃ¥ " +"alle at beslutningstakere hadde denne ideen i tankene nÃ¥r de tillater vÃ¥r " +"policy her for Ã¥ skifte. unregulated bruker var en viktig del av fri kultur " +"før Internett." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Second, this shift is especially troubling in the context of transformative " +"uses of creative content. Again, we can all understand the wrong in " +"commercial piracy. But the law now purports to regulate any transformation " +"you make of creative work using a machine. \"Copy and paste\" and \"cut and " +"paste\" become crimes. Tinkering with a story and releasing it to others " +"exposes the tinkerer to at least a requirement of justification. However " +"troubling the expansion with respect to copying a particular work, it is " +"extraordinarily troubling with respect to transformative uses of creative " +"work." +msgstr "" + +#. PAGE BREAK 156 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Third, this shift from category 1 to category 2 puts an extraordinary burden " +"on category 3 (\"fair use\") that fair use never before had to bear. If a " +"copyright owner now tried to control how many times I could read a book on-" +"line, the natural response would be to argue that this is a violation of my " +"fair use rights. But there has never been any litigation about whether I " +"have a fair use right to read, because before the Internet, reading did not " +"trigger the application of copyright law and hence the need for a fair use " +"defense. The right to read was effectively protected before because reading " +"was not regulated." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This point about fair use is totally ignored, even by advocates for free " +"culture. We have been cornered into arguing that our rights depend upon fair " +"use--never even addressing the earlier question about the expansion in " +"effective regulation. A thin protection grounded in fair use makes sense " +"when the vast majority of uses are unregulated. But when everything becomes " +"presumptively regulated, then the protections of fair use are not enough." +msgstr "" +"dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis " +"kultur. Vi har vært cornered til kranglet at vÃ¥re rettigheter er avhengige " +"av fair use--adressering aldri selv tidligere spørsmÃ¥let om utvidelse i " +"effektiv regulering. en tynn beskyttelse jordet i fair use fornuftig nÃ¥r det " +"store flertallet av bruker er unregulated. men nÃ¥r alt blir presumptively " +"regulert, deretter beskyttelse av fair use er ikke nok." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The case of Video Pipeline is a good example. Video Pipeline was in the " +"business of making \"trailer\" advertisements for movies available to video " +"stores. The video stores displayed the trailers as a way to sell videos. " +"Video Pipeline got the trailers from the film distributors, put the trailers " +"on tape, and sold the tapes to the retail stores." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The company did this for about fifteen years. Then, in 1997, it began to " +"think about the Internet as another way to distribute these previews. The " +"idea was to expand their \"selling by sampling\" technique by giving on-line " +"stores the same ability to enable \"browsing.\" Just as in a bookstore you " +"can read a few pages of a book before you buy the book, so, too, you would " +"be able to sample a bit from the movie on-line before you bought it." +msgstr "" + +#. PAGE BREAK 157 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In 1998, Video Pipeline informed Disney and other film distributors that it " +"intended to distribute the trailers through the Internet (rather than " +"sending the tapes) to distributors of their videos. Two years later, Disney " +"told Video Pipeline to stop. The owner of Video Pipeline asked Disney to " +"talk about the matter--he had built a business on distributing this content " +"as a way to help sell Disney films; he had customers who depended upon his " +"delivering this content. Disney would agree to talk only if Video Pipeline " +"stopped the distribution immediately. Video Pipeline thought it was within " +"their \"fair use\" rights to distribute the clips as they had. So they filed " +"a lawsuit to ask the court to declare that these rights were in fact their " +"rights." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Disney countersued--for $100 million in damages. Those damages were " +"predicated upon a claim that Video Pipeline had \"willfully infringed\" on " +"Disney's copyright. When a court makes a finding of willful infringement, it " +"can award damages not on the basis of the actual harm to the copyright " +"owner, but on the basis of an amount set in the statute. Because Video " +"Pipeline had distributed seven hundred clips of Disney movies to enable " +"video stores to sell copies of those movies, Disney was now suing Video " +"Pipeline for $100 million." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Disney has the right to control its property, of course. But the video " +"stores that were selling Disney's films also had some sort of right to be " +"able to sell the films that they had bought from Disney. Disney's claim in " +"court was that the stores were allowed to sell the films and they were " +"permitted to list the titles of the films they were selling, but they were " +"not allowed to show clips of the films as a way of selling them without " +"Disney's permission." +msgstr "" +"Disney har rett til Ã¥ kontrollere sin eiendom, selvfølgelig. men video " +"butikkene som solgte Disneys filmer hadde ogsÃ¥ en slags rett til Ã¥ være i " +"stand til Ã¥ selge filmer som de hadde kjøpt fra disney. disney's krav i " +"domstol var at butikkene ble tillatt Ã¥ selge filmene og de ble tillatt Ã¥ " +"vise titlene pÃ¥ filmene de solgte, men de var ikke lov til Ã¥ vise klipp av " +"filmer som en mÃ¥te Ã¥ selge dem uten disney's tillatelse." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Now, you might think this is a close case, and I think the courts would " +"consider it a close case. My point here is to map the change that gives " +"Disney this power. Before the Internet, Disney couldn't really control how " +"people got access to their content. Once a video was in the marketplace, the " +"\"first-sale doctrine\" would free the seller to use the video as he wished, " +"including showing portions of it in order to engender sales of the entire " +"movie video. But with the Internet, it becomes possible for Disney to " +"centralize control over access to this content. Because each use of the " +"Internet produces a copy, use on the Internet becomes subject to the " +"copyright owner's control. The technology expands the scope of effective " +"control, because the technology builds a copy into every transaction." +msgstr "" + +#. PAGE BREAK 158 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"No doubt, a potential is not yet an abuse, and so the potential for control " +"is not yet the abuse of control. Barnes & Noble has the right to say you " +"can't touch a book in their store; property law gives them that right. But " +"the market effectively protects against that abuse. If Barnes & Noble " +"banned browsing, then consumers would choose other bookstores. Competition " +"protects against the extremes. And it may well be (my argument so far does " +"not even question this) that competition would prevent any similar danger " +"when it comes to copyright. Sure, publishers exercising the rights that " +"authors have assigned to them might try to regulate how many times you read " +"a book, or try to stop you from sharing the book with anyone. But in a " +"competitive market such as the book market, the dangers of this happening " +"are quite slight." +msgstr "" +"ingen tvil, et potensial er ikke et misbruk, og sÃ¥ potensialet for kontroll " +"er ikke ennÃ¥ misbruk av kontroll. Barnes & noble har rett til Ã¥ si du " +"ikke røre en bok i deres store; opphavsrettslovgivningen gir dem det riktig. " +"men markedet beskytter effektivt mot at misbruk. Hvis barnes & noble " +"utestengt surfing, vil deretter forbrukere velge andre bokhandlere. " +"konkurranse beskytter mot ytterpunktene. og det kan godt være (mitt argument " +"sÃ¥ langt ikke selv spørsmÃ¥let dette) at konkurransen ville hindre noen " +"lignende fare nÃ¥r det gjelder opphavsrett. sikker, kan utgivere utøve " +"rettigheter som forfattere har tildelt dem prøver Ã¥ regulere hvor mange " +"ganger du leser en bok, eller prøv Ã¥ opphøre du fra deler av boken med noen. " +"men i et konkurranseutsatt marked som bok-markedet, farene ved dette skjer " +"er ganske liten." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Again, my aim so far is simply to map the changes that this changed " +"architecture enables. Enabling technology to enforce the control of " +"copyright means that the control of copyright is no longer defined by " +"balanced policy. The control of copyright is simply what private owners " +"choose. In some contexts, at least, that fact is harmless. But in some " +"contexts it is a recipe for disaster." +msgstr "" +"igjen, mitt mÃ¥l sÃ¥ langt er ganske enkelt Ã¥ kartlegge endringene som er at " +"dette endret arkitekturen aktiverer. aktivere teknologien Ã¥ hÃ¥ndheve " +"kontroll av opphavsrett betyr at kontroll av copyright er ikke lenger " +"definert av balansert policyen. kontroll pÃ¥ opphavsrett er bare hva privat " +"eiere velge. i enkelte sammenhenger, minst, er det faktum harmløse. men det " +"er en oppskrift pÃ¥ katastrofe i enkelte sammenhenger." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Architecture and Law: Force" +msgstr "arkitektur og lov: tvinge" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The disappearance of unregulated uses would be change enough, but a second " +"important change brought about by the Internet magnifies its significance. " +"This second change does not affect the reach of copyright regulation; it " +"affects how such regulation is enforced." +msgstr "" +"forsvinningen av unregulated bruker ville være endre nok, men andre viktige " +"endringer forÃ¥rsaket av Internett øker sin betydning. denne andre endringen " +"pÃ¥virker ikke rekkevidden av opphavsrett regulering; det pÃ¥virker hvordan " +"slike regulering fremtvinges." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In the world before digital technology, it was generally the law that " +"controlled whether and how someone was regulated by copyright law. The law, " +"meaning a court, meaning a judge: In the end, it was a human, trained in the " +"tradition of the law and cognizant of the balances that tradition embraced, " +"who said whether and how the law would restrict your freedom." +msgstr "" +"i verden før digital teknologi var det generelt loven som kontrollerte om og " +"hvordan noen var regulert av lov om opphavsrett. loven, noe som betyr en " +"court, som betyr en dommer: til slutt, det var et menneske, utdannet i " +"tradisjonen med loven og cognizant av saldoer som tradisjon omfavnet, som sa " +"om og hvordan loven ville begrense friheten." + +#. f19 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See David Lange, \\\"Recognizing the Public Domain,\\\" Law and " +#| "Contemporary Problems 44 (1981): 172­73." +msgid "" +"See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary " +"Problems 44 (1981): 172­73." +msgstr "" +"se david lange, \\\"erkjenner allemannseie,\\\" lov og moderne problemer 44 " +"(1981): 172­73." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"There's a famous story about a battle between the Marx Brothers and Warner " +"Brothers. The Marxes intended to make a parody of Casablanca. Warner " +"Brothers objected. They wrote a nasty letter to the Marxes, warning them " +"that there would be serious legal consequences if they went forward with " +"their plan.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f20 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1­3." +msgid "Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1­3." +msgstr "ibid. se ogsÃ¥ vaidhyanathan, opphavsrett og copywrongs, 1­3." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This led the Marx Brothers to respond in kind. They warned Warner Brothers " +"that the Marx Brothers \"were brothers long before you were.\"<placeholder " +"type=\"footnote\" id=\"0\"/> The Marx Brothers therefore owned the word " +"brothers, and if Warner Brothers insisted on trying to control Casablanca, " +"then the Marx Brothers would insist on control over brothers." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"An absurd and hollow threat, of course, because Warner Brothers, like the " +"Marx Brothers, knew that no court would ever enforce such a silly claim. " +"This extremism was irrelevant to the real freedoms anyone (including Warner " +"Brothers) enjoyed." +msgstr "" +"en absurd og hul trussel, selvfølgelig, fordi warner brothers, the marx " +"brothers, visste at ingen domstol ville noensinne hÃ¥ndheve slikt dumt krav. " +"Denne ekstremisme var irrelevant for ekte friheter nytes alle (inkludert " +"warner brothers)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"On the Internet, however, there is no check on silly rules, because on the " +"Internet, increasingly, rules are enforced not by a human but by a machine: " +"Increasingly, the rules of copyright law, as interpreted by the copyright " +"owner, get built into the technology that delivers copyrighted content. It " +"is code, rather than law, that rules. And the problem with code regulations " +"is that, unlike law, code has no shame. Code would not get the humor of the " +"Marx Brothers. The consequence of that is not at all funny." +msgstr "" +"pÃ¥ Internett, men det er ingen kontroll av dum regler, fordi pÃ¥ Internett, i " +"økende grad regler gjelder ikke av et menneske, men av en maskin: i økende " +"grad reglene om opphavsrett, som tolkes av eieren av opphavsretten fÃ¥ " +"innebygd i teknologien som leverer opphavsrettsbeskyttet innhold. Det er " +"koden, i stedet for loven, at reglene. og problemet med koden forskrifter er " +"at, i motsetning til loven, koden har ingen skam. koden ville ikke fÃ¥ humor " +"av the marx brothers. konsekvensen av dette er overhodet ikke morsomt." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "Consider the life of my Adobe eBook Reader." +msgstr "vurdere livet av min adobe eBok-leser." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"An e-book is a book delivered in electronic form. An Adobe eBook is not a " +"book that Adobe has published; Adobe simply produces the software that " +"publishers use to deliver e-books. It provides the technology, and the " +"publisher delivers the content by using the technology." +msgstr "" +"en e-bok er en bok som er levert i elektronisk form. en adobe-eBok er ikke " +"en bok som adobe har publisert; Adobe gir ganske enkelt programvaren som " +"utgivere bruker Ã¥ levere e-bøker. Det gir teknologien, og utgiveren leverer " +"innholdet ved hjelp av teknologien." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"On the next page is a picture of an old version of my Adobe eBook Reader." +msgstr "" +"pÃ¥ neste er siden et bilde av en gammel versjon av min adobe eBok-leser." + +#. PAGE BREAK 160 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"As you can see, I have a small collection of e-books within this e-book " +"library. Some of these books reproduce content that is in the public domain: " +"Middlemarch, for example, is in the public domain. Some of them reproduce " +"content that is not in the public domain: My own book The Future of Ideas is " +"not yet within the public domain. Consider Middlemarch first. If you click " +"on my e-book copy of Middlemarch, you'll see a fancy cover, and then a " +"button at the bottom called Permissions." +msgstr "" +"som du ser, har jeg en liten samling av e-bøker i denne e-boken biblioteket. " +"noen av disse bøkene reprodusere innholdet i public domain: middlemarch, er " +"for eksempel i public domain. noen av dem reprodusere innhold som ikke er " +"allemannseie: min egen bok fremtiden for ideer er ennÃ¥ ikke i public domain. " +"vurdere middlemarch først. Hvis du klikker pÃ¥ min e-bok-kopi av middlemarch, " +"vil du se en fancy cover og deretter en knapp pÃ¥ bunnen kalt tillatelser." + +#. type: Content of: <book><chapter><sect1><sect2><figure><title> +msgid "Acrobat eBook Reader" +msgstr "Acrobat eBok-leser" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1611.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"If you click on the Permissions button, you'll see a list of the permissions " +"that the publisher purports to grant with this book." +msgstr "" +"Hvis du klikker pÃ¥ knappen tillatelser, ser du en liste over tillatelsene " +"som utgiveren hensikt Ã¥ gi med denne boken." + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1612.jpg\"></graphic>" +msgstr "" + +#. PAGE BREAK 161 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"According to my eBook Reader, I have the permission to copy to the clipboard " +"of the computer ten text selections every ten days. (So far, I've copied no " +"text to the clipboard.) I also have the permission to print ten pages from " +"the book every ten days. Lastly, I have the permission to use the Read Aloud " +"button to hear Middlemarch read aloud through the computer." +msgstr "" +"Ifølge min eBok-leser har jeg tillatelse til Ã¥ kopiere til utklippstavlen pÃ¥ " +"datamaskinen ti tekstomrÃ¥der ti dager. (sÃ¥ langt jeg har kopiert ingen tekst " +"til utklippstavlen.) Jeg har ogsÃ¥ tillatelse til Ã¥ skrive ut ti sider fra " +"boken ti dager. til slutt, jeg har tillatelse til Ã¥ bruke lese høyt knapp " +"for Ã¥ høre middlemarch lest høyt gjennom datamaskinen." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Here's the e-book for another work in the public domain (including the " +"translation): Aristotle's Politics." +msgstr "" +"Her er e-bok for et annet arbeid i den offentlige sfæren (inkludert " +"oversettelse): Aristoteles politikk." + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1621.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"According to its permissions, no printing or copying is permitted at all. " +"But fortunately, you can use the Read Aloud button to hear the book." +msgstr "" +"i henhold til tillatelsene, ingen utskrift eller kopiering er tillatt i det " +"hele tatt. men heldigvis kan du bruke lese høyt knappen for Ã¥ høre boken." + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1622.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Finally (and most embarrassingly), here are the permissions for the original " +"e-book version of my last book, The Future of Ideas:" +msgstr "" +"Endelig (og mest embarrassingly), her er du tillatelsene for den " +"opprinnelige e-bok-versjonen av boken min siste, fremtiden for ideer:" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1631.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "No copying, no printing, and don't you dare try to listen to this book!" +msgstr "" +"ingen kopiering, ingen utskrift, og ikke vÃ¥ger du prøver Ã¥ lytte til denne " +"boken!" + +#. f21 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"In principle, a contract might impose a requirement on me. I might, for " +"example, buy a book from you that includes a contract that says I will read " +"it only three times, or that I promise to read it three times. But that " +"obligation (and the limits for creating that obligation) would come from the " +"contract, not from copyright law, and the obligations of contract would not " +"necessarily pass to anyone who subsequently acquired the book." +msgstr "" +"i prinsippet, kan en kontrakt pÃ¥legge et krav pÃ¥ meg. Jeg kan, for eksempel " +"kjøpe en bok fra deg som inkluderer en kontrakt som sier jeg vil lese den " +"bare tre ganger, eller at jeg lover Ã¥ lese den tre ganger. men at " +"forpliktelse (og grensene for Ã¥ opprette denne plikten) ville komme fra " +"kontrakten, ikke fra lov om opphavsrett og forpliktelsene ved kontrakt ville " +"ikke nødvendigvis gÃ¥ til alle som senere kjøpt boken." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Now, the Adobe eBook Reader calls these controls \"permissions\"-- as if the " +"publisher has the power to control how you use these works. For works under " +"copyright, the copyright owner certainly does have the power--up to the " +"limits of the copyright law. But for work not under copyright, there is no " +"such copyright power.<placeholder type=\"footnote\" id=\"0\"/> When my e-" +"book of Middlemarch says I have the permission to copy only ten text " +"selections into the memory every ten days, what that really means is that " +"the eBook Reader has enabled the publisher to control how I use the book on " +"my computer, far beyond the control that the law would enable." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The control comes instead from the code--from the technology within which " +"the e-book \"lives.\" Though the e-book says that these are permissions, " +"they are not the sort of \"permissions\" that most of us deal with. When a " +"teenager gets \"permission\" to stay out till midnight, she knows (unless " +"she's Cinderella) that she can stay out till 2 A.M., but will suffer a " +"punishment if she's caught. But when the Adobe eBook Reader says I have the " +"permission to make ten copies of the text into the computer's memory, that " +"means that after I've made ten copies, the computer will not make any more. " +"The same with the printing restrictions: After ten pages, the eBook Reader " +"will not print any more pages. It's the same with the silly restriction " +"that says that you can't use the Read Aloud button to read my book aloud--" +"it's not that the company will sue you if you do; instead, if you push the " +"Read Aloud button with my book, the machine simply won't read aloud." +msgstr "" + +#. PAGE BREAK 163 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These are controls, not permissions. Imagine a world where the Marx Brothers " +"sold word processing software that, when you tried to type \"Warner Brothers," +"\" erased \"Brothers\" from the sentence." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is the future of copyright law: not so much copyright law as copyright " +"code. The controls over access to content will not be controls that are " +"ratified by courts; the controls over access to content will be controls " +"that are coded by programmers. And whereas the controls that are built into " +"the law are always to be checked by a judge, the controls that are built " +"into the technology have no similar built-in check." +msgstr "" +"Dette er fremtiden til lov om opphavsrett: ikke sÃ¥ mye copyright lov som " +"opphavsrett kode. Kontroller over tilgangen til innholdet kan ikke " +"kontroller som er ratifisert av domstolene; Kontroller over tilgangen til " +"innholdet vil være kontroller som er kodet av programmerere. og mens " +"kontrollene som er innebygd i loven er alltid skal kontrolleres av en " +"dommer, kontrollene som er innebygd i teknologien har ingen tilsvarende " +"innebygde kontroller." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"How significant is this? Isn't it always possible to get around the controls " +"built into the technology? Software used to be sold with technologies that " +"limited the ability of users to copy the software, but those were trivial " +"protections to defeat. Why won't it be trivial to defeat these protections " +"as well?" +msgstr "" +"hvor betydelig er dette? er det ikke alltid mulig Ã¥ komme seg rundt " +"kontrollene som er innebygd i teknologien? programvaren brukes til Ã¥ bli " +"solgt med teknologier som begrenset mulighet til brukere Ã¥ kopiere " +"programvaren, men det var trivielle beskyttelse til tap. Hvorfor vil ikke " +"være trivielt Ã¥ beseire slik beskyttelse ogsÃ¥?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"We've only scratched the surface of this story. Return to the Adobe eBook " +"Reader." +msgstr "" +"Vi har bare riper i overflaten av denne historien. gÃ¥ tilbake til adobe eBok-" +"leser." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Early in the life of the Adobe eBook Reader, Adobe suffered a public " +"relations nightmare. Among the books that you could download for free on the " +"Adobe site was a copy of Alice's Adventures in Wonderland. This wonderful " +"book is in the public domain. Yet when you clicked on Permissions for that " +"book, you got the following report:" +msgstr "" +"tidlig i livet av adobe eBok reader LED adobe et PR mareritt. Blant bøkene " +"som du kan laste ned gratis pÃ¥ adobe siden var en kopi av alice's adventures " +"in wonderland. denne fantastiske boken er offentlig tilgjengelig. ennÃ¥ nÃ¥r " +"du klikket pÃ¥ tillatelser for boken, fikk du det fulgte rapporten:" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1641.jpg\"></graphic>" +msgstr "" + +#. PAGE BREAK 164 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Here was a public domain children's book that you were not allowed to copy, " +"not allowed to lend, not allowed to give, and, as the \"permissions\" " +"indicated, not allowed to \"read aloud\"!" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The public relations nightmare attached to that final permission. For the " +"text did not say that you were not permitted to use the Read Aloud button; " +"it said you did not have the permission to read the book aloud. That led " +"some people to think that Adobe was restricting the right of parents, for " +"example, to read the book to their children, which seemed, to say the least, " +"absurd." +msgstr "" +"pr-mareritt som er knyttet til den endelige tillatelsen. for teksten ikke si " +"at du ikke var tillatt Ã¥ bruke lese høyt knappen; det sa du ikke har " +"tillatelse til Ã¥ lese boken høyt. som ledet noen folk Ã¥ tenke at adobe var " +"begrense høyre for foreldre, for eksempel Ã¥ lese boken til sine barn, som " +"syntes Ã¥ si mildt, absurd." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Adobe responded quickly that it was absurd to think that it was trying to " +"restrict the right to read a book aloud. Obviously it was only restricting " +"the ability to use the Read Aloud button to have the book read aloud. But " +"the question Adobe never did answer is this: Would Adobe thus agree that a " +"consumer was free to use software to hack around the restrictions built into " +"the eBook Reader? If some company (call it Elcomsoft) developed a program to " +"disable the technological protection built into an Adobe eBook so that a " +"blind person, say, could use a computer to read the book aloud, would Adobe " +"agree that such a use of an eBook Reader was fair? Adobe didn't answer " +"because the answer, however absurd it might seem, is no." +msgstr "" +"Adobe svarte raskt at det var absurd Ã¥ tro at den prøvde Ã¥ begrense " +"rettigheten til Ã¥ lese en bok høyt. Det ble Ã¥penbart bare begrense " +"muligheten til Ã¥ bruke lese høyt knappen for Ã¥ fÃ¥ boken lest høyt. Men " +"spørsmÃ¥let adobe aldri svar er dette: er adobe dermed enig at en forbruker " +"var fri til Ã¥ bruke programvare for Ã¥ banalisere rundt restriksjoner som er " +"innebygd i eBok-leser? Hvis noen selskap (kaller det elcomsoft) utviklet et " +"program for Ã¥ deaktivere teknologiske beskyttelsen som er innebygd i en " +"adobe-eBok slik at en blind person, sier, kan bruke en datamaskin til Ã¥ lese " +"boken høyt, vil adobe være enig at slik bruk av en eBok-leser var " +"rettferdig? Adobe ikke svare fordi svaret, men absurde det kan virke, er " +"ingen." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The point is not to blame Adobe. Indeed, Adobe is among the most innovative " +"companies developing strategies to balance open access to content with " +"incentives for companies to innovate. But Adobe's technology enables " +"control, and Adobe has an incentive to defend this control. That incentive " +"is understandable, yet what it creates is often crazy." +msgstr "" +"Poenget er ikke Ã¥ klandre adobe. faktisk, adobe er blant de mest innovative " +"selskapene som utvikler strategier for Ã¥ balansere Ã¥pen tilgang til innhold " +"med insentiver for bedriftene Ã¥ skape noe nytt. men Adobes teknologi gjør " +"det mulig for kontroll, og adobe har et insentiv til Ã¥ forsvare denne " +"kontrollen. dette insentiv er forstÃ¥elig, men hva som skaper er ofte gal." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"To see the point in a particularly absurd context, consider a favorite story " +"of mine that makes the same point." +msgstr "" +"Hvis du vil se punktet i en spesielt absurd sammenheng, bør du vurdere en " +"favoritt historien om mine som gjør det samme punktet." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Consider the robotic dog made by Sony named \"Aibo.\" The Aibo learns " +"tricks, cuddles, and follows you around. It eats only electricity and that " +"doesn't leave that much of a mess (at least in your house)." +msgstr "" + +#. PAGE BREAK 165 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The Aibo is expensive and popular. Fans from around the world have set up " +"clubs to trade stories. One fan in particular set up a Web site to enable " +"information about the Aibo dog to be shared. This fan set up aibopet.com " +"(and aibohack.com, but that resolves to the same site), and on that site he " +"provided information about how to teach an Aibo to do tricks in addition to " +"the ones Sony had taught it." +msgstr "" +"aibo er dyrt og populære. fans fra hele verden har satt opp klubber til " +"handel historier. en vifte spesielt satt opp et webomrÃ¥de slik at " +"informasjon om aibo hunden som skal deles. Dette fan satt opp aibopet.com " +"(og aibohack.com, men de løser til det samme omrÃ¥det), og han gitt " +"informasjon om hvordan du lære en aibo Ã¥ gjøre triks i tillegg til de sony " +"hadde lært det pÃ¥ det omrÃ¥det." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"\"Teach\" here has a special meaning. Aibos are just cute computers. You " +"teach a computer how to do something by programming it differently. So to " +"say that aibopet.com was giving information about how to teach the dog to do " +"new tricks is just to say that aibopet.com was giving information to users " +"of the Aibo pet about how to hack their computer \"dog\" to make it do new " +"tricks (thus, aibohack.com)." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"If you're not a programmer or don't know many programmers, the word hack has " +"a particularly unfriendly connotation. Nonprogrammers hack bushes or weeds. " +"Nonprogrammers in horror movies do even worse. But to programmers, or " +"coders, as I call them, hack is a much more positive term. Hack just means " +"code that enables the program to do something it wasn't originally intended " +"or enabled to do. If you buy a new printer for an old computer, you might " +"find the old computer doesn't run, or \"drive,\" the printer. If you " +"discovered that, you'd later be happy to discover a hack on the Net by " +"someone who has written a driver to enable the computer to drive the printer " +"you just bought." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Some hacks are easy. Some are unbelievably hard. Hackers as a community like " +"to challenge themselves and others with increasingly difficult tasks. " +"There's a certain respect that goes with the talent to hack well. There's a " +"well-deserved respect that goes with the talent to hack ethically." +msgstr "" +"noen hacks er lett. noen er utrolig vanskelig. hackere som et fellesskap " +"liker Ã¥ utfordre seg selv og andre med stadig vanskeligere oppgaver. Det er " +"en viss respekt som gÃ¥r med talent Ã¥ hacke godt. Det er en velfortjent " +"respekt som gÃ¥r med talent Ã¥ hacke etisk." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The Aibo fan was displaying a bit of both when he hacked the program and " +"offered to the world a bit of code that would enable the Aibo to dance jazz. " +"The dog wasn't programmed to dance jazz. It was a clever bit of tinkering " +"that turned the dog into a more talented creature than Sony had built." +msgstr "" +"fan aibo var vise litt av begge nÃ¥r han hacket programmet og tilbød Ã¥ verden " +"litt kode som ville gjøre det mulig for aibo Ã¥ danse jazz. hunden var ikke " +"programmert Ã¥ danse jazz. Det var en smart bit av fiksing og triksing som " +"forvandlet hunden til en mer talentfull skapning enn sony hadde bygget." + +#. PAGE BREAK 166 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I've told this story in many contexts, both inside and outside the United " +"States. Once I was asked by a puzzled member of the audience, is it " +"permissible for a dog to dance jazz in the United States? We forget that " +"stories about the backcountry still flow across much of the world. So let's " +"just be clear before we continue: It's not a crime anywhere (anymore) to " +"dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it " +"be a crime (though we don't have a lot to go on here) to teach your robot " +"dog to dance jazz. Dancing jazz is a completely legal activity. One imagines " +"that the owner of aibopet.com thought, What possible problem could there be " +"with teaching a robot dog to dance?" +msgstr "" +"Jeg har fortalt denne historien i mange sammenhenger, bÃ¥de i og utenfor USA. " +"NÃ¥r jeg ble spurt av en rÃ¥dvill medlem av publikum, er det tillatt for en " +"hunden Ã¥ danse jazz i USA? Vi glemmer at artikler om backcountry fremdeles " +"flyter gjennom store deler av verden. sÃ¥ la oss være klare før vi " +"fortsetter: det er ikke en forbrytelse hvor som helst (lenger) Ã¥ danse jazz. " +"heller ikke er det en forbrytelse Ã¥ lære din hunden Ã¥ danse jazz. heller " +"ikke bør det være en forbrytelse (selv om vi ikke har mye Ã¥ gÃ¥ pÃ¥ her) Ã¥ " +"lære hunden din robot Ã¥ danse jazz. dans jazz er en helt lovlig aktivitet. " +"en bilder at eieren av aibopet.com trodde, hva et mulig problem kan det være " +"med undervisning en robot hunden Ã¥ danse?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Let's put the dog to sleep for a minute, and turn to a pony show-- not " +"literally a pony show, but rather a paper that a Princeton academic named Ed " +"Felten prepared for a conference. This Princeton academic is well known and " +"respected. He was hired by the government in the Microsoft case to test " +"Microsoft's claims about what could and could not be done with its own code. " +"In that trial, he demonstrated both his brilliance and his coolness. Under " +"heavy badgering by Microsoft lawyers, Ed Felten stood his ground. He was not " +"about to be bullied into being silent about something he knew very well." +msgstr "" +"La oss sette hunden Ã¥ sove litt, og slÃ¥ til en ponni Vis--ikke bokstavelig " +"talt en ponni show, men heller et papir som en princeton akademiske kalt ed " +"felten forberedt pÃ¥ en konferanse. Denne princeton akademiske er godt kjent " +"og respektert. Han ble ansatt av regjeringen i microsoft-saken til Ã¥ teste " +"Microsofts krav om hva kunne og ikke kunne gjøres med en egen kode. i denne " +"rettssaken demonstrerte han bÃ¥de hans herlighet og hans coolness. under tung " +"badgering av microsoft advokater, ed felten stÃ¥tt sin bakken. Han var ikke " +"om Ã¥ bli mobba til Ã¥ være stille om noe han visste godt." + +#. f22 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Pamela Samuelson, \"Anticircumvention Rules: Threat to Science,\" " +"Science 293 (2001): 2028; Brendan I. Koerner, \"Play Dead: Sony Muzzles the " +"Techies Who Teach a Robot Dog New Tricks,\" American Prospect, January 2002; " +"\"Court Dismisses Computer Scientists' Challenge to DMCA,\" Intellectual " +"Property Litigation Reporter, 11 December 2001; Bill Holland, \"Copyright " +"Act Raising Free-Speech Concerns,\" Billboard, May 2001; Janelle Brown, \"Is " +"the RIAA Running Scared?\" Salon.com, April 2001; Electronic Frontier " +"Foundation, \"Frequently Asked Questions about Felten and USENIX v. RIAA " +"Legal Case,\" available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#27</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But Felten's bravery was really tested in April 2001.<placeholder type=" +"\"footnote\" id=\"0\"/> He and a group of colleagues were working on a paper " +"to be submitted at conference. The paper was intended to describe the " +"weakness in an encryption system being developed by the Secure Digital Music " +"Initiative as a technique to control the distribution of music." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The SDMI coalition had as its goal a technology to enable content owners to " +"exercise much better control over their content than the Internet, as it " +"originally stood, granted them. Using encryption, SDMI hoped to develop a " +"standard that would allow the content owner to say \"this music cannot be " +"copied,\" and have a computer respect that command. The technology was to " +"be part of a \"trusted system\" of control that would get content owners to " +"trust the system of the Internet much more." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"When SDMI thought it was close to a standard, it set up a competition. In " +"exchange for providing contestants with the code to an SDMI-encrypted bit of " +"content, contestants were to try to crack it and, if they did, report the " +"problems to the consortium." +msgstr "" +"NÃ¥r sdmi trodde det var nær en standard, satt det opp en konkurranse. i " +"bytte for Ã¥ gi contestants med koden til en sdmi-krypterte bit av innholdet, " +"var contestants Ã¥ prøve Ã¥ sprekk det, og hvis de gjorde, kan du rapportere " +"problemer til konsortiet." + +#. PAGE BREAK 167 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Felten and his team figured out the encryption system quickly. He and the " +"team saw the weakness of this system as a type: Many encryption systems " +"would suffer the same weakness, and Felten and his team thought it " +"worthwhile to point this out to those who study encryption." +msgstr "" +"felten og teamet hans funnet ut kryptering systemet raskt. Han og teamet sÃ¥ " +"svakheten av dette systemet som en type: mange kryptering systemer vil lide " +"samme svakhet, og felten og teamet hans trodde det verdt Ã¥ pÃ¥peke dette til " +"de som studerer kryptering." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Let's review just what Felten was doing. Again, this is the United States. " +"We have a principle of free speech. We have this principle not just because " +"it is the law, but also because it is a really great idea. A strongly " +"protected tradition of free speech is likely to encourage a wide range of " +"criticism. That criticism is likely, in turn, to improve the systems or " +"people or ideas criticized." +msgstr "" +"La oss vurdere bare hva felten gjorde. igjen, dette er USA. Vi har et " +"prinsipp for ytringsfrihet. Vi har dette prinsippet ikke bare fordi det er " +"loven, men ogsÃ¥ fordi det er en virkelig god idé. en sterkt beskyttet " +"tradisjon av ytringsfriheten er sannsynlig Ã¥ oppmuntre til et bredt spekter " +"av kritikk. at kritikk er sannsynlig, i sin tur til Ã¥ forbedre systemer " +"eller personer eller ideer kritisert." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"What Felten and his colleagues were doing was publishing a paper describing " +"the weakness in a technology. They were not spreading free music, or " +"building and deploying this technology. The paper was an academic essay, " +"unintelligible to most people. But it clearly showed the weakness in the " +"SDMI system, and why SDMI would not, as presently constituted, succeed." +msgstr "" +"Hva felten og hans kolleger gjorde var publisering en papiret beskriver " +"svakhet i en teknologi. de var ikke spre gratis musikk, eller bygge og " +"distribusjon av denne teknologien. papiret var en faglige essay, uleselig " +"for fleste. men det viste klart svakhetene i sdmi-systemet, og hvorfor sdmi " +"ville ikke, sÃ¥ dag konstituert, lykkes." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"What links these two, aibopet.com and Felten, is the letters they then " +"received. Aibopet.com received a letter from Sony about the aibopet.com " +"hack. Though a jazz-dancing dog is perfectly legal, Sony wrote:" +msgstr "" +"Hva kobler disse to, aibopet.com og felten, er bokstavene de deretter " +"mottatt. aibopet.com mottatt et brev fra sony om det aibopet.com banalisere. " +"Selv om en jazz-dans hunden er helt lovlig, skrev sony:" + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"Your site contains information providing the means to circumvent AIBO-ware's " +"copy protection protocol constituting a violation of the anti-circumvention " +"provisions of the Digital Millennium Copyright Act." +msgstr "" +"nettstedet inneholder informasjon metoder for Ã¥ omgÃ¥ aibo-ware " +"kopibeskyttelse protokollen utgjør et brudd pÃ¥ anti-omgÃ¥else bestemmelsene i " +"digital millennium copyright act." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"And though an academic paper describing the weakness in a system of " +"encryption should also be perfectly legal, Felten received a letter from an " +"RIAA lawyer that read:" +msgstr "" +"og selv om en akademisk papiret beskriver svakhet i et system av kryptering " +"bør ogsÃ¥ være helt lovlig, felten mottatt et brev fra en riaa advokat som " +"lese:" + +#. PAGE BREAK 168 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"Any disclosure of information gained from participating in the Public " +"Challenge would be outside the scope of activities permitted by the " +"Agreement and could subject you and your research team to actions under the " +"Digital Millennium Copyright Act (\"DMCA\")." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In both cases, this weirdly Orwellian law was invoked to control the spread " +"of information. The Digital Millennium Copyright Act made spreading such " +"information an offense." +msgstr "" +"i begge tilfeller ble denne nifs orwellian loven startet for Ã¥ kontrollere " +"spredningen av informasjon. digital millennium copyright act gjort sprer seg " +"slik informasjon en krenkelser." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The DMCA was enacted as a response to copyright owners' first fear about " +"cyberspace. The fear was that copyright control was effectively dead; the " +"response was to find technologies that might compensate. These new " +"technologies would be copyright protection technologies-- technologies to " +"control the replication and distribution of copyrighted material. They were " +"designed as code to modify the original code of the Internet, to reestablish " +"some protection for copyright owners." +msgstr "" +"dmca ble vedtatt som en reaksjon pÃ¥ opphavsrett eiernes første frykt om " +"cyberspace. frykt var at opphavsrett kontroll var effektivt død; svaret var " +"Ã¥ finne teknologier som kan kompensere. disse nye teknologiene ville være " +"opphavsrettsbeskyttelse teknologier--teknologier for Ã¥ kontrollere " +"replikering og distribusjon av opphavsrettsbeskyttet materiale. de ble " +"utviklet som kode for Ã¥ endre den opprinnelige koden for Internett, for Ã¥ " +"gjenopprette noe beskyttelse for eiere av opphavsretter." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The DMCA was a bit of law intended to back up the protection of this code " +"designed to protect copyrighted material. It was, we could say, legal code " +"intended to buttress software code which itself was intended to support the " +"legal code of copyright." +msgstr "" +"dmca var litt av loven som er ment Ã¥ sikkerhetskopiere beskyttelse av denne " +"koden som er utformet for Ã¥ beskytte opphavsrettsbeskyttet materiale. Det " +"var vi kunne si, Juridisk Lisenstekst ment Ã¥ buttress programvarekode som " +"selv var ment Ã¥ støtte Juridisk Lisenstekst av opphavsrett." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But the DMCA was not designed merely to protect copyrighted works to the " +"extent copyright law protected them. Its protection, that is, did not end at " +"the line that copyright law drew. The DMCA regulated devices that were " +"designed to circumvent copyright protection measures. It was designed to ban " +"those devices, whether or not the use of the copyrighted material made " +"possible by that circumvention would have been a copyright violation." +msgstr "" +"men dmca ble ikke utformet for bare Ã¥ beskytte opphavsrettslig beskyttet " +"verk i grad lov om opphavsrett beskyttet dem. sin beskyttelse, det vil si " +"ikke slutten pÃ¥ linjen som trakk av lov om opphavsrett. dmca regulert " +"enheter som ble utviklet for Ã¥ omgÃ¥ opphavsrettsbeskyttelse tiltak. den ble " +"utformet for Ã¥ forby disse enheter, om bruk av opphavsrettslig materiale " +"gjort mulig ved at omgÃ¥else ville ha vært et brudd pÃ¥ opphavsretten." + +#. PAGE BREAK 169 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Aibopet.com and Felten make the point. The Aibo hack circumvented a " +"copyright protection system for the purpose of enabling the dog to dance " +"jazz. That enablement no doubt involved the use of copyrighted material. But " +"as aibopet.com's site was noncommercial, and the use did not enable " +"subsequent copyright infringements, there's no doubt that aibopet.com's hack " +"was fair use of Sony's copyrighted material. Yet fair use is not a defense " +"to the DMCA. The question is not whether the use of the copyrighted material " +"was a copyright violation. The question is whether a copyright protection " +"system was circumvented." +msgstr "" +"aibopet.com og felten gjøre punktet. det aibo banalisere omgikk et system " +"for opphavsrettsbeskyttelse for Ã¥ aktivere hunden Ã¥ danse jazz. at " +"aktivering omfattet uten tvil bruk av opphavsrettsbeskyttet materiale. men " +"som aibopet.com's omrÃ¥det var ikke-kommersielt, og bruk ikke aktiverte " +"etterfølgende opphavsrett infringements, er det ingen tvil om at aibopet.com " +"banalisere var rettferdig bruk av Sonys opphavsrettsbeskyttet materiale. " +"rettferdig bruk er ennÃ¥ ikke krenkelser av dmca. spørsmÃ¥let er ikke om bruk " +"av opphavsrettslig materiale var et brudd pÃ¥ opphavsretten. spørsmÃ¥let er om " +"et system for opphavsrettsbeskyttelse var omgikk." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The threat against Felten was more attenuated, but it followed the same line " +"of reasoning. By publishing a paper describing how a copyright protection " +"system could be circumvented, the RIAA lawyer suggested, Felten himself was " +"distributing a circumvention technology. Thus, even though he was not " +"himself infringing anyone's copyright, his academic paper was enabling " +"others to infringe others' copyright." +msgstr "" +"trusselen mot felten mer ble oppveid, men det fulgte den samme linjen med " +"resonnement. ved Ã¥ publisere en papir som beskriver hvordan et system for " +"opphavsrettsbeskyttelse kan circumvented, riaa advokat foreslÃ¥tt, felten " +"selv var distribuere en omgÃ¥else-teknologi. SÃ¥ledes, selv om han ikke var " +"selv krenker andres opphavsrett, hans akademiske papir var aktivere andre " +"til Ã¥ krenke andres opphavsrett." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The bizarreness of these arguments is captured in a cartoon drawn in 1981 by " +"Paul Conrad. At that time, a court in California had held that the VCR could " +"be banned because it was a copyright-infringing technology: It enabled " +"consumers to copy films without the permission of the copyright owner. No " +"doubt there were uses of the technology that were legal: Fred Rogers, aka " +"\"Mr. Rogers,\" for example, had testified in that case that he wanted " +"people to feel free to tape Mr. Rogers' Neighborhood." +msgstr "" + +#. f23 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. " +#| "417, 455 fn. 27 (1984). Rogers never changed his view about the VCR. See " +#| "James Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught " +#| "of the VCR (New York: W. W. Norton, 1987), 270­71." +msgid "" +"Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. 417, " +"455 fn. 27 (1984). Rogers never changed his view about the VCR. See James " +"Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught of the VCR " +"(New York: W. W. Norton, 1987), 270­71." +msgstr "" +"Sony corporation of america v. universal city studios, inc., 464 amerikanske " +"417, 455 fn. 27 (1984). Rogers endret aldri sitt syn om videoopptakeren. se " +"james lardner, spole fremover: hollywood, japanske og onslaught av " +"videoopptakeren (new york: w. w. norton, 1987), 270­71." + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"Some public stations, as well as commercial stations, program the " +"\"Neighborhood\" at hours when some children cannot use it. I think that " +"it's a real service to families to be able to record such programs and show " +"them at appropriate times. I have always felt that with the advent of all of " +"this new technology that allows people to tape the \"Neighborhood\" off-the-" +"air, and I'm speaking for the \"Neighborhood\" because that's what I " +"produce, that they then become much more active in the programming of their " +"family's television life. Very frankly, I am opposed to people being " +"programmed by others. My whole approach in broadcasting has always been " +"\"You are an important person just the way you are. You can make healthy " +"decisions.\" Maybe I'm going on too long, but I just feel that anything that " +"allows a person to be more active in the control of his or her life, in a " +"healthy way, is important.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 170 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Even though there were uses that were legal, because there were some uses " +"that were illegal, the court held the companies producing the VCR " +"responsible." +msgstr "" +"Selv om det var bruker som var juridiske, fordi det var noen bruksomrÃ¥der " +"som var ulovlig, domstolen holdt selskaper produsere vcr ansvarlig." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This led Conrad to draw the cartoon below, which we can adopt to the DMCA." +msgstr "" +"Dette førte conrad Ã¥ trekke tegneserie nedenfor, som vi kan vedta Ã¥ dmca." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "No argument I have can top this picture, but let me try to get close." +msgstr "" +"ingen argument jeg har kan topp dette bildet, men la meg prøve Ã¥ komme nær." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The anticircumvention provisions of the DMCA target copyright circumvention " +"technologies. Circumvention technologies can be used for different ends. " +"They can be used, for example, to enable massive pirating of copyrighted " +"material--a bad end. Or they can be used to enable the use of particular " +"copyrighted materials in ways that would be considered fair use--a good end." +msgstr "" +"anticircumvention bestemmelsene i dmca mot opphavsrett omgÃ¥else teknologier. " +"omgÃ¥else teknologiene kan brukes for ulike ender. de kan brukes, for " +"eksempel Ã¥ aktivere massiv pirating av opphavsrettsbeskyttet materiale--en " +"dÃ¥rlig slutt. eller de kan brukes til Ã¥ aktivere bruken av bestemt " +"opphavsrettsbeskyttet materiale pÃ¥ mÃ¥ter som vil anses rimelig bruk--en god " +"slutt." + +#. PAGE BREAK 171 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"A handgun can be used to shoot a police officer or a child. Most would agree " +"such a use is bad. Or a handgun can be used for target practice or to " +"protect against an intruder. At least some would say that such a use would " +"be good. It, too, is a technology that has both good and bad uses." +msgstr "" +"en pistol kan brukes til Ã¥ skyte en politimann eller et barn. de fleste vil " +"være enige slik bruk er dÃ¥rlig. eller en pistol kan brukes for mÃ¥let " +"praksis, eller for Ã¥ beskytte mot en inntrenger. minst noen vil si at slik " +"bruk ville vært bra. det, ogsÃ¥, er en teknologi som har bÃ¥de gode og dÃ¥rlige " +"bruker." + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1711.jpg\"></graphic>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The obvious point of Conrad's cartoon is the weirdness of a world where guns " +"are legal, despite the harm they can do, while VCRs (and circumvention " +"technologies) are illegal. Flash: No one ever died from copyright " +"circumvention. Yet the law bans circumvention technologies absolutely, " +"despite the potential that they might do some good, but permits guns, " +"despite the obvious and tragic harm they do." +msgstr "" +"den 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 " +"omgÃ¥else teknologier) er ulovlig. Flash: ingen noensinne døde fra " +"opphavsrett omgÃ¥else. ennÃ¥ forbud lov omgÃ¥else teknologier absolutt, til " +"tross for potensialet som de kan gjøre noe godt, men tillater vÃ¥pen, til " +"tross for den Ã¥penbare og tragisk skaden de gjør." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The Aibo and RIAA examples demonstrate how copyright owners are changing the " +"balance that copyright law grants. Using code, copyright owners restrict " +"fair use; using the DMCA, they punish those who would attempt to evade the " +"restrictions on fair use that they impose through code. Technology becomes a " +"means by which fair use can be erased; the law of the DMCA backs up that " +"erasing." +msgstr "" +"aibo og riaa eksemplene viser hvordan opphavsrett eiere endrer saldoen som " +"copyright lov tilskudd. ved hjelp av kode, begrense eiere av opphavsretter " +"fair use; bruker dmca, straffe de de som vil forsøke Ã¥ unngÃ¥ begrensningene " +"pÃ¥ rimelig bruk som de innføre gjennom koden. teknologien blir et middel som " +"kan bli slettet fair use; loven av dmca sikkerhetskopierer at sletting." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is how code becomes law. The controls built into the technology of copy " +"and access protection become rules the violation of which is also a " +"violation of the law. In this way, the code extends the law--increasing its " +"regulation, even if the subject it regulates (activities that would " +"otherwise plainly constitute fair use) is beyond the reach of the law. Code " +"becomes law; code extends the law; code thus extends the control that " +"copyright owners effect--at least for those copyright holders with the " +"lawyers who can write the nasty letters that Felten and aibopet.com received." +msgstr "" +"Dette er hvordan koden blir lov. Kontroller som er innebygd i teknologien " +"for kopiering og tilgang beskyttelse bli regler bryter som er ogsÃ¥ et brudd " +"pÃ¥ loven. pÃ¥ denne mÃ¥ten utvider koden loven--øke sin regulering, selv om " +"emnet den regulerer (aktiviteter som ellers tydelig utgjør rimelig bruk) er " +"utenfor rekkevidden av loven. koden blir lov; koden utvider loven, kode " +"dermed utvider kontrollen som eiere av opphavsretter effekt--minst for de " +"innehaverne av opphavsrett med advokater som kan skrive ekkel bokstavene som " +"felten og aibopet.com som er mottatt." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"There is one final aspect of the interaction between architecture and law " +"that contributes to the force of copyright's regulation. This is the ease " +"with which infringements of the law can be detected. For contrary to the " +"rhetoric common at the birth of cyberspace that on the Internet, no one " +"knows you're a dog, increasingly, given changing technologies deployed on " +"the Internet, it is easy to find the dog who committed a legal wrong. The " +"technologies of the Internet are open to snoops as well as sharers, and the " +"snoops are increasingly good at tracking down the identity of those who " +"violate the rules." +msgstr "" +"Det er ett siste del av samspillet mellom arkitektur og lov som bidrar til " +"styrken av copyright's regulering. Dette er enkelt som infringements av " +"loven som kan oppdages. for i motsetning til retorikken felles fødselen av " +"cyberspace at pÃ¥ Internett, ingen vet du er en hunden, i økende grad er gitt " +"skiftende teknologier som er deployert pÃ¥ Internett, det enkelt Ã¥ finne " +"hunden som har begÃ¥tt en juridisk feil. teknologien av Internett er Ã¥pne for " +"snoops, sÃ¥ vel som brukere, og snoops er stadig gode pÃ¥ sporing ned " +"identiteten til de som bryter reglene." + +#. f24 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"For an early and prescient analysis, see Rebecca Tushnet, \"Legal Fictions, " +"Copyright, Fan Fiction, and a New Common Law,\" Loyola of Los Angeles " +"Entertainment Law Journal 17 (1997): 651." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"For example, imagine you were part of a Star Trek fan club. You gathered " +"every month to share trivia, and maybe to enact a kind of fan fiction about " +"the show. One person would play Spock, another, Captain Kirk. The characters " +"would begin with a plot from a real story, then simply continue it." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Before the Internet, this was, in effect, a totally unregulated activity. " +"No matter what happened inside your club room, you would never be interfered " +"with by the copyright police. You were free in that space to do as you " +"wished with this part of our culture. You were allowed to build on it as you " +"wished without fear of legal control." +msgstr "" +"før Internett var dette faktisk, en helt unregulated aktivitet. Uansett hva " +"som skjedde i club-rommet ditt, vil du aldri bli forstyrret av opphavsrett " +"politiet. du var gratis i denne plassen Ã¥ gjøre som du vil. med denne delen " +"av vÃ¥r kultur. du ble tillatt Ã¥ bygge videre pÃ¥ det som du selv ønsker, uten " +"frykt for juridisk kontroll." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But if you moved your club onto the Internet, and made it generally " +"available for others to join, the story would be very different. Bots " +"scouring the Net for trademark and copyright infringement would quickly find " +"your site. Your posting of fan fiction, depending upon the ownership of the " +"series that you're depicting, could well inspire a lawyer's threat. And " +"ignoring the lawyer's threat would be extremely costly indeed. The law of " +"copyright is extremely efficient. The penalties are severe, and the process " +"is quick." +msgstr "" +"men hvis du har flyttet din klubb til Internett, og gjorde det vanligvis " +"tilgjengelig for andre til Ã¥ delta, historien ville være svært forskjellige. " +"robotsøkeprogrammer scouring nettet for varemerke- og copyright infringement " +"vil raskt finne nettstedet. Innleggsaktivitet fan fiction, avhengig av " +"eierskap av serien som du som viser, kan ogsÃ¥ inspirere en advokat trussel. " +"og ignorerer den advokat trussel ville være uhyre kostbart faktisk. loven om " +"opphavsrett er ekstremt effektiv. straffene er alvorlige, og prosessen er " +"rask." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This change in the effective force of the law is caused by a change in the " +"ease with which the law can be enforced. That change too shifts the law's " +"balance radically. It is as if your car transmitted the speed at which you " +"traveled at every moment that you drove; that would be just one step before " +"the state started issuing tickets based upon the data you transmitted. That " +"is, in effect, what is happening here." +msgstr "" +"Denne endringen i effektiv makt i loven er forÃ¥rsaket av en endring i lett " +"som kan hÃ¥ndheves loven. at endringen ogsÃ¥ skifter loven er balansere " +"radikalt. Det er som om bilen overføres hastigheten som du reist pÃ¥ hvert " +"øyeblikk som du kjørte; det ville være bare ett trinn før staten begynte Ã¥ " +"utstede billetter basert pÃ¥ dataene du har overført. det vil si, hva som " +"skjer her." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Market: Concentration" +msgstr "markedet: konsentrasjon" + +#. PAGE BREAK 173 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"So copyright's duration has increased dramatically--tripled in the past " +"thirty years. And copyright's scope has increased as well--from regulating " +"only publishers to now regulating just about everyone. And copyright's reach " +"has changed, as every action becomes a copy and hence presumptively " +"regulated. And as technologists find better ways to control the use of " +"content, and as copyright is increasingly enforced through technology, " +"copyright's force changes, too. Misuse is easier to find and easier to " +"control. This regulation of the creative process, which began as a tiny " +"regulation governing a tiny part of the market for creative work, has become " +"the single most important regulator of creativity there is. It is a massive " +"expansion in the scope of the government's control over innovation and " +"creativity; it would be totally unrecognizable to those who gave birth to " +"copyright's control." +msgstr "" +"Slik copyright's varighet har økt dramatisk--tredoblet de siste tretti " +"Ã¥rene. og copyright's omfang har økt samt--fra regulerer bare utgivere Ã¥ " +"regulere nÃ¥ omtrent alle. og copyright's rekkevidde har endret, som hver " +"handling blir en kopi og dermed presumptively regulert. og som " +"Teknologorganisasjon finne bedre mÃ¥ter Ã¥ kontrollere bruken av innhold, og " +"som copyright stadig fremtvinges gjennom teknologi, copyright's kraft " +"endringer, ogsÃ¥. misbruk er enklere Ã¥ finne og enklere Ã¥ kontrollere. Denne " +"reguleringen av den kreative prosessen, som begynte som en liten regulering " +"som styrer en liten del av markedet for skapende arbeid, har blitt enkelt " +"viktigste regulator av kreativitet som det er. Det er en massiv økning i " +"omfanget av regjeringens kontroll over innovasjon og kreativitet; det ville " +"være helt ugjenkjennelige til de som fødte copyright's kontroll." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Still, in my view, all of these changes would not matter much if it weren't " +"for one more change that we must also consider. This is a change that is in " +"some sense the most familiar, though its significance and scope are not well " +"understood. It is the one that creates precisely the reason to be concerned " +"about all the other changes I have described." +msgstr "" +"Likevel, etter mitt syn, alle disse endringene vil ikke saken mye hvis det " +"ikke var for en enda en endring som mÃ¥ vi ogsÃ¥ vurdere. Dette er en endring " +"som er i noen forstand den mest kjente, om sin betydning og omfang ikke er " +"godt forstÃ¥tt. Det er den som oppretter nettopp grunnen til Ã¥ være bekymret " +"for alle andre endringer jeg har beskrevet." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is the change in the concentration and integration of the media. In " +"the past twenty years, the nature of media ownership has undergone a radical " +"alteration, caused by changes in legal rules governing the media. Before " +"this change happened, the different forms of media were owned by separate " +"media companies. Now, the media is increasingly owned by only a few " +"companies. Indeed, after the changes that the FCC announced in June 2003, " +"most expect that within a few years, we will live in a world where just " +"three companies control more than percent of the media." +msgstr "" +"Dette er endring i konsentrasjon og integrering av media. i de siste tjue " +"Ã¥rene, har natur av media eierskapet gjennomgÃ¥tt en radikal endring, " +"forÃ¥rsaket av endringer i juridiske reglene som styrer media. før denne " +"endringen skjedde, var de ulike formene for media eid av egen media " +"selskapene. media eies nÃ¥, i økende grad av bare et par selskaper. faktisk, " +"etter endringene som fcc annonsert i juni 2003, mest forventer at innen fÃ¥ " +"Ã¥r vil vi lever i en verden der bare tre selskaper kontrollere mer enn " +"prosent av media." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These changes are of two sorts: the scope of concentration, and its nature." +msgstr "" +"disse endringene er i to former: omfanget av konsentrasjon, og dens natur." + +#. f25 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"FCC Oversight: Hearing Before the Senate Commerce, Science and " +"Transportation Committee, 108th Cong., 1st sess. (22 May 2003) (statement " +"of Senator John McCain)." +msgstr "" +"FCC oversight: høring før Senatet commerce, science and transport komiteen, " +"108th cong., 1 sess. (22 mai 2003) (setning av senator john mccain)." + +#. f26 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Lynette Holloway, \"Despite a Marketing Blitz, CD Sales Continue to Slide,\" " +"New York Times, 23 December 2002." +msgstr "" + +#. f27 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Molly Ivins, \"Media Consolidation Must Be Stopped,\" Charleston Gazette, 31 " +"May 2003." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Changes in scope are the easier ones to describe. As Senator John McCain " +"summarized the data produced in the FCC's review of media ownership, \"five " +"companies control 85 percent of our media sources.\"<placeholder type=" +"\"footnote\" id=\"0\"/> The five recording labels of Universal Music Group, " +"BMG, Sony Music Entertainment, Warner Music Group, and EMI control 84.8 " +"percent of the U.S. music market.<placeholder type=\"footnote\" id=\"1\"/> " +"The \"five largest cable companies pipe programming to 74 percent of the " +"cable subscribers nationwide.\"<placeholder type=\"footnote\" id=\"2\"/>" +msgstr "" + +#. PAGE BREAK 174 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The story with radio is even more dramatic. Before deregulation, the " +"nation's largest radio broadcasting conglomerate owned fewer than seventy-" +"five stations. Today one company owns more than 1,200 stations. During that " +"period of consolidation, the total number of radio owners dropped by 34 " +"percent. Today, in most markets, the two largest broadcasters control 74 " +"percent of that market's revenues. Overall, just four companies control 90 " +"percent of the nation's radio advertising revenues." +msgstr "" +"historien med radio er enda mer dramatisk. før dereguleringen, landets " +"største radio sendinger konglomerat eid færre enn sytti-fem stasjoner. i dag " +"eier en selskapet mer enn 1 200 stasjoner. i denne perioden av " +"konsolidering, det totale antallet radio eiere droppet av 34 prosent. i dag, " +"i de fleste markeder styre de to største broadcasters 74 prosent av dette " +"markedet inntekter. Total, bare fire selskaper styre 90 prosent av landets " +"radio annonsering inntekter." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Newspaper ownership is becoming more concentrated as well. Today, there are " +"six hundred fewer daily newspapers in the United States than there were " +"eighty years ago, and ten companies control half of the nation's " +"circulation. There are twenty major newspaper publishers in the United " +"States. The top ten film studios receive 99 percent of all film revenue. The " +"ten largest cable companies account for 85 percent of all cable revenue. " +"This is a market far from the free press the framers sought to protect. " +"Indeed, it is a market that is quite well protected-- by the market." +msgstr "" +"avisen eierskap er i ferd med Ã¥ bli mer konsentrert ogsÃ¥. i dag, er det seks " +"hundre færre daglige aviser i USA enn det var Ã¥tti Ã¥r siden og ti selskaper " +"kontroll halvparten av landets sirkulasjon. Det er tjue stor avis utgivere i " +"USA. topp ti film studioer motta 99 prosent av alle inntekter for filmen. ti " +"største kabelselskaper konto for 85 prosent av alle inntekter for kabel. " +"Dette er et marked langt fra fri presse underskrev søkt Ã¥ beskytte. Det er " +"faktisk et marked som er svært godt beskyttet--av markedet." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Concentration in size alone is one thing. The more invidious change is in " +"the nature of that concentration. As author James Fallows put it in a recent " +"article about Rupert Murdoch," +msgstr "" +"konsentrasjon i størrelse alene er én ting. mer invidious endringen er i " +"natur at konsentrasjon. som forfatter james fallows sette den i en fersk " +"artikkel om rupert murdoch," + +#. f28 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (September 2003): 89." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"Murdoch's companies now constitute a production system unmatched in its " +"integration. They supply content--Fox movies . . . Fox TV shows . . . Fox-" +"controlled sports broadcasts, plus newspapers and books. They sell the " +"content to the public and to advertisers--in newspapers, on the broadcast " +"network, on the cable channels. And they operate the physical distribution " +"system through which the content reaches the customers. Murdoch's satellite " +"systems now distribute News Corp. content in Europe and Asia; if Murdoch " +"becomes DirecTV's largest single owner, that system will serve the same " +"function in the United States.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The pattern with Murdoch is the pattern of modern media. Not just large " +"companies owning many radio stations, but a few companies owning as many " +"outlets of media as possible. A picture describes this pattern better than a " +"thousand words could do:" +msgstr "" +"mønsteret med murdoch er mønsteret av moderne medier. ikke bare store " +"selskaper Ã¥ eie mange radiostasjoner, men noen selskaper Ã¥ eie sÃ¥ mange " +"uttak av media som mulig. et bilde beskriver bedre enn tusen ord kunne gjøre " +"dette mønsteret:" + +#. type: Content of: <book><chapter><sect1><sect2><figure> +msgid "<graphic fileref=\"1761.jpg\"></graphic>" +msgstr "" + +#. PAGE BREAK 175 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Does this concentration matter? Will it affect what is made, or what is " +"distributed? Or is it merely a more efficient way to produce and distribute " +"content?" +msgstr "" +"har denne konsentrasjonen saken? vil det pÃ¥virke hva er gjort, eller hva er " +"distribuert? eller er det bare en mer effektiv mÃ¥te Ã¥ produsere og " +"distribuere innhold?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"My view was that concentration wouldn't matter. I thought it was nothing " +"more than a more efficient financial structure. But now, after reading and " +"listening to a barrage of creators try to convince me to the contrary, I am " +"beginning to change my mind." +msgstr "" +"Jeg var at konsentrasjon ikke ville saken. Jeg trodde det var ingenting mer " +"enn en mer effektive økonomiske strukturen. men nÃ¥, etter at lese og lytte " +"til en barrage av skaperne prøver Ã¥ overbevise meg om det motsatte, jeg " +"begynner Ã¥ endre meg sinn." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Here's a representative story that begins to suggest how this integration " +"may matter." +msgstr "" +"Her er en representant historie som begynner Ã¥ foreslÃ¥ hvordan denne " +"integreringen kan saken." + +#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary> +msgid "ABC" +msgstr "ABC" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In 1969, Norman Lear created a pilot for All in the Family. He took the " +"pilot to ABC. The network didn't like it. It was too edgy, they told Lear. " +"Make it again. Lear made a second pilot, more edgy than the first. ABC was " +"exasperated. You're missing the point, they told Lear. We wanted less edgy, " +"not more." +msgstr "" +"i 1969, norman lear opprettet en pilot for alle i familien. Han tok piloten " +"til abc. nettverket liker ikke det. Det var ogsÃ¥ irritabel, fortalte de " +"lear. gjøre det igjen. Lear gjort en andre pilot, mer irritabel enn først. " +"ABC var exasperated. du mangler punktet, fortalte de lear. Vi ønsket mindre " +"irritabel, ikke mer." + +#. f29 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Leonard Hill, \"The Axis of Access,\" remarks before Weidenbaum Center " +"Forum, \"Entertainment Economics: The Movie Industry,\" St. Louis, Missouri, " +"3 April 2003 (transcript of prepared remarks available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #28</ulink>; for the Lear story, not " +"included in the prepared remarks, see <ulink url=\"http://free-culture.cc/" +"notes/\">link #29</ulink>)." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Rather than comply, Lear simply took the show elsewhere. CBS was happy to " +"have the series; ABC could not stop Lear from walking. The copyrights that " +"Lear held assured an independence from network control.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 176 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The network did not control those copyrights because the law forbade the " +"networks from controlling the content they syndicated. The law required a " +"separation between the networks and the content producers; that separation " +"would guarantee Lear freedom. And as late as 1992, because of these rules, " +"the vast majority of prime time television--75 percent of it--was " +"\"independent\" of the networks." +msgstr "" + +#. f30 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media " +"Ownership Before the Senate Commerce Committee, 108th Cong., 1st sess. " +"(2003) (testimony of Gene Kimmelman on behalf of Consumers Union and the " +"Consumer Federation of America), available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #30</ulink>. Kimmelman quotes Victoria Riskin, " +"president of Writers Guild of America, West, in her Remarks at FCC En Banc " +"Hearing, Richmond, Virginia, 27 February 2003." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In 1994, the FCC abandoned the rules that required this independence. After " +"that change, the networks quickly changed the balance. In 1985, there were " +"twenty-five independent television production studios; in 2002, only five " +"independent television studios remained. \"In 1992, only 15 percent of new " +"series were produced for a network by a company it controlled. Last year, " +"the percentage of shows produced by controlled companies more than " +"quintupled to 77 percent.\" \"In 1992, 16 new series were produced " +"independently of conglomerate control, last year there was one." +"\"<placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of prime " +"time television was owned by the networks that ran it. \"In the ten-year " +"period between 1992 and 2002, the number of prime time television hours per " +"week produced by network studios increased over 200%, whereas the number of " +"prime time television hours per week produced by independent studios " +"decreased 63%.\"<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Today, another Norman Lear with another All in the Family would find that he " +"had the choice either to make the show less edgy or to be fired: The content " +"of any show developed for a network is increasingly owned by the network." +msgstr "" +"i dag, en annen norman lear med en annen alle i familien ville finne at han " +"mÃ¥tte velge Ã¥ gjøre showet mindre irritabel eller sparken: innholdet i et " +"hvilket som helst Vis utviklet for et nettverk er i økende grad eid av " +"nettverket." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"While the number of channels has increased dramatically, the ownership of " +"those channels has narrowed to an ever smaller and smaller few. As Barry " +"Diller said to Bill Moyers," +msgstr "" +"mens antall kanaler har økt dramatisk, har eierskap av disse kanalene " +"begrenses til en stadig mindre og mindre fÃ¥. som barry diller sa til bill " +"moyers," + +#. f32 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"\"Barry Diller Takes on Media Deregulation,\" Now with Bill Moyers, Bill " +"Moyers, 25 April 2003, edited transcript available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #31</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"Well, if you have companies that produce, that finance, that air on their " +"channel and then distribute worldwide everything that goes through their " +"controlled distribution system, then what you get is fewer and fewer actual " +"voices participating in the process. [We u]sed to have dozens and dozens of " +"thriving independent production companies producing television programs. Now " +"you have less than a handful.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This narrowing has an effect on what is produced. The product of such large " +"and concentrated networks is increasingly homogenous. Increasingly safe. " +"Increasingly sterile. The product of news shows from networks like this is " +"increasingly tailored to the message the network wants to convey. This is " +"not the communist party, though from the inside, it must feel a bit like the " +"communist party. No one can question without risk of consequence--not " +"necessarily banishment to Siberia, but punishment nonetheless. Independent, " +"critical, different views are quashed. This is not the environment for a " +"democracy." +msgstr "" +"dette begrense har en effekt pÃ¥ det som produseres. produktet av slike store " +"og konsentrert nettverk er stadig mer homogene. stadig mer trygg. stadig " +"sterilt. produktet av nyhetsprogrammer fra nettverk som dette er stadig " +"skreddersydd til meldingen nettverket ønsker Ã¥ formidle. Dette er ikke det " +"kommunistiske parten, selv om fra innsiden, mÃ¥ det føles litt som det " +"kommunistiske parten. Ingen kan spørsmÃ¥let uten risiko for konsekvens--ikke " +"nødvendigvis banishment til Sibir, men straff likevel. uavhengige, kritiske, " +"forskjellige visninger er ødela. Dette er ikke miljø for et demokrati." + +#. f33 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary National " +"Bestseller that Changed the Way We Do Business (Cambridge: Harvard Business " +"School Press, 1997). Christensen acknowledges that the idea was first " +"suggested by Dean Kim Clark. See Kim B. Clark, \"The Interaction of Design " +"Hierarchies and Market Concepts in Technological Evolution,\" Research " +"Policy 14 (1985): 235­51. For a more recent study, see Richard Foster and " +"Sarah Kaplan, Creative Destruction: Why Companies That Are Built to Last " +"Underperform the Market--and How to Successfully Transform Them (New York: " +"Currency/Doubleday, 2001)." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Economics itself offers a parallel that explains why this integration " +"affects creativity. Clay Christensen has written about the \"Innovator's " +"Dilemma\": the fact that large traditional firms find it rational to ignore " +"new, breakthrough technologies that compete with their core business. The " +"same analysis could help explain why large, traditional media companies " +"would find it rational to ignore new cultural trends.<placeholder type=" +"\"footnote\" id=\"0\"/> Lumbering giants not only don't, but should not, " +"sprint. Yet if the field is only open to the giants, there will be far too " +"little sprinting." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I don't think we know enough about the economics of the media market to say " +"with certainty what concentration and integration will do. The efficiencies " +"are important, and the effect on culture is hard to measure." +msgstr "" +"Jeg tror ikke vi vet nok om økonomien i media markedet Ã¥ si med sikkerhet " +"hva konsentrasjon og integrering vil gjøre. effektiviteten er viktig, og " +"effekten pÃ¥ kultur er vanskelig Ã¥ mÃ¥le." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But there is a quintessentially obvious example that does strongly suggest " +"the concern." +msgstr "men det er en typiske Ã¥penbare eksempel som sterkt at bekymringen." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In addition to the copyright wars, we're in the middle of the drug wars. " +"Government policy is strongly directed against the drug cartels; criminal " +"and civil courts are filled with the consequences of this battle." +msgstr "" +"i tillegg til opphavsrett krigene er vi midt i narkotika-krigene. " +"regjeringens politikk er sterkt rettet mot narkotika cartels; straffesaker " +"og sivile domstolene er fylt med konsekvensene av denne kampen." + +#. PAGE BREAK 178 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Let me hereby disqualify myself from any possible appointment to any " +"position in government by saying I believe this war is a profound mistake. I " +"am not pro drugs. Indeed, I come from a family once wrecked by drugs--though " +"the drugs that wrecked my family were all quite legal. I believe this war is " +"a profound mistake because the collateral damage from it is so great as to " +"make waging the war insane. When you add together the burdens on the " +"criminal justice system, the desperation of generations of kids whose only " +"real economic opportunities are as drug warriors, the queering of " +"constitutional protections because of the constant surveillance this war " +"requires, and, most profoundly, the total destruction of the legal systems " +"of many South American nations because of the power of the local drug " +"cartels, I find it impossible to believe that the marginal benefit in " +"reduced drug consumption by Americans could possibly outweigh these costs." +msgstr "" +"La meg herved diskvalifisere meg selv fra en hvilken som helst mulig avtale " +"til enhver posisjon i regjeringen ved Ã¥ si jeg tror denne krigen er en dyp " +"feil. Jeg er ikke pro narkotika. faktisk, jeg kommer fra en familie en gang " +"havarerte av narkotika--om narkotika som havarerte familien min var alle " +"helt lovlig. Jeg tror at denne krigen er en dyp feil fordi " +"sikkerhetsstillelse skade fra det som er sÃ¥ stor at gjøre føre krig galskap. " +"NÃ¥r du legger til sammen byrdene pÃ¥ det strafferettslige systemet, " +"desperasjon generasjoner av barna som har bare ekte økonomiske muligheter er " +"som narkotika krigere, queering av konstitusjonelle vern pÃ¥ grunn av " +"konstant overvÃ¥king krever at denne krigen, og, mest dypt total ødeleggelse " +"av juridiske systemer av mange søramerikanske land pÃ¥ grunn av kraften i " +"lokale stoffet cartelsJeg finner det umulig Ã¥ tro at marginal nytte i " +"redusert narkotikabruk av amerikanerne kunne muligens oppveier disse " +"kostnadene." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"You may not be convinced. That's fine. We live in a democracy, and it is " +"through votes that we are to choose policy. But to do that, we depend " +"fundamentally upon the press to help inform Americans about these issues." +msgstr "" +"Det kan hende du ikke overbevist. Det er fint. Vi lever i et demokrati, og " +"det er gjennom stemmer at vi skal velge policyen. men for Ã¥ gjøre det, vi " +"avhengig fundamentalt pressen for Ã¥ informere amerikanerne om disse " +"problemene." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Beginning in 1998, the Office of National Drug Control Policy launched a " +"media campaign as part of the \"war on drugs.\" The campaign produced scores " +"of short film clips about issues related to illegal drugs. In one series " +"(the Nick and Norm series) two men are in a bar, discussing the idea of " +"legalizing drugs as a way to avoid some of the collateral damage from the " +"war. One advances an argument in favor of drug legalization. The other " +"responds in a powerful and effective way against the argument of the first. " +"In the end, the first guy changes his mind (hey, it's television). The plug " +"at the end is a damning attack on the pro-legalization campaign." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Fair enough. It's a good ad. Not terribly misleading. It delivers its " +"message well. It's a fair and reasonable message." +msgstr "" +"Fair nok. Det er en god annonse. ikke veldig misvisende. Det gir sin melding " +"godt. Det er en rettferdig og rimelig melding." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But let's say you think it is a wrong message, and you'd like to run a " +"countercommercial. Say you want to run a series of ads that try to " +"demonstrate the extraordinary collateral harm that comes from the drug war. " +"Can you do it?" +msgstr "" +"men la oss si at du tror det er en feil melding, og du ønsker Ã¥ kjøre en " +"countercommercial. si du vil kjøre en rekke annonser som prøver Ã¥ " +"demonstrere den ekstraordinære sikkerhetsstillelse skaden som kommer fra " +"stoffet krigen. kan du gjøre det?" + +#. PAGE BREAK 179 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Well, obviously, these ads cost lots of money. Assume you raise the money. " +"Assume a group of concerned citizens donates all the money in the world to " +"help you get your message out. Can you be sure your message will be heard " +"then?" +msgstr "" +"Vel, tydeligvis, koste disse annonsene massevis av penger. Anta du heve " +"penger. Anta at en gruppe av berørte borgere donerer alle pengene i verden " +"for Ã¥ hjelpe deg Ã¥ fÃ¥ budskapet. kan du være sikker pÃ¥ at meldingen vil " +"deretter bli hørt?" + +#. f34 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"The Marijuana Policy Project, in February 2003, sought to place ads that " +"directly responded to the Nick and Norm series on stations within the " +"Washington, D.C., area. Comcast rejected the ads as \"against [their] policy." +"\" The local NBC affiliate, WRC, rejected the ads without reviewing them. " +"The local ABC affiliate, WJOA, originally agreed to run the ads and accepted " +"payment to do so, but later decided not to run the ads and returned the " +"collected fees. Interview with Neal Levine, 15 October 2003. These " +"restrictions are, of course, not limited to drug policy. See, for example, " +"Nat Ives, \"On the Issue of an Iraq War, Advocacy Ads Meet with Rejection " +"from TV Networks,\" New York Times, 13 March 2003, C4. Outside of election-" +"related air time there is very little that the FCC or the courts are willing " +"to do to even the playing field. For a general overview, see Rhonda Brown, " +"\"Ad Hoc Access: The Regulation of Editorial Advertising on Television and " +"Radio,\" Yale Law and Policy Review 6 (1988): 449­79, and for a more recent " +"summary of the stance of the FCC and the courts, see Radio-Television News " +"Directors Association v. FCC, 184 F. 3d 872 (D.C. Cir. 1999). Municipal " +"authorities exercise the same authority as the networks. In a recent example " +"from San Francisco, the San Francisco transit authority rejected an ad that " +"criticized its Muni diesel buses. Phillip Matier and Andrew Ross, " +"\"Antidiesel Group Fuming After Muni Rejects Ad,\" SFGate.com, 16 June 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #32</ulink>. " +"The ground was that the criticism was \"too controversial.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"No. You cannot. Television stations have a general policy of avoiding " +"\"controversial\" ads. Ads sponsored by the government are deemed " +"uncontroversial; ads disagreeing with the government are controversial. " +"This selectivity might be thought inconsistent with the First Amendment, but " +"the Supreme Court has held that stations have the right to choose what they " +"run. Thus, the major channels of commercial media will refuse one side of a " +"crucial debate the opportunity to present its case. And the courts will " +"defend the rights of the stations to be this biased.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I'd be happy to defend the networks' rights, as well--if we lived in a media " +"market that was truly diverse. But concentration in the media throws that " +"condition into doubt. If a handful of companies control access to the media, " +"and that handful of companies gets to decide which political positions it " +"will allow to be promoted on its channels, then in an obvious and important " +"way, concentration matters. You might like the positions the handful of " +"companies selects. But you should not like a world in which a mere few get " +"to decide which issues the rest of us get to know about." +msgstr "" +"Jeg ville være glad for Ã¥ forsvare nettverk rettigheter, samt--hvis vi bodde " +"i en medier markedet som var virkelig mangfoldig. men konsentrasjon i media " +"kaster den betingelsen i tvil. Hvis en hÃ¥ndfull selskaper kontrollere " +"tilgangen til media, og at hÃ¥ndfull selskaper kommer til Ã¥ bestemme hvilke " +"politiske holdninger som den gjør det mulig Ã¥ bli forfremmet pÃ¥ sine " +"kanaler, sÃ¥ i en Ã¥penbare og viktig mÃ¥te, konsentrasjon teller. du kanskje " +"liker posisjoner hÃ¥ndfull selskaper velger. men du bør ikke liker en verden " +"der bare en noen kommer til Ã¥ bestemme hvilke problemer med resten av oss fÃ¥ " +"vite om." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Together" +msgstr "sammen" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"There is something innocent and obvious about the claim of the copyright " +"warriors that the government should \"protect my property.\" In the " +"abstract, it is obviously true and, ordinarily, totally harmless. No sane " +"sort who is not an anarchist could disagree." +msgstr "" + +#. PAGE BREAK 180 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But when we see how dramatically this \"property\" has changed-- when we " +"recognize how it might now interact with both technology and markets to mean " +"that the effective constraint on the liberty to cultivate our culture is " +"dramatically different--the claim begins to seem less innocent and obvious. " +"Given (1) the power of technology to supplement the law's control, and (2) " +"the power of concentrated markets to weaken the opportunity for dissent, if " +"strictly enforcing the massively expanded \"property\" rights granted by " +"copyright fundamentally changes the freedom within this culture to cultivate " +"and build upon our past, then we have to ask whether this property should be " +"redefined." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Not starkly. Or absolutely. My point is not that we should abolish copyright " +"or go back to the eighteenth century. That would be a total mistake, " +"disastrous for the most important creative enterprises within our culture " +"today." +msgstr "" +"ikke starkly. eller absolutt. Mitt poeng er ikke at vi bør avskaffe " +"copyright eller gÃ¥ tilbake til 1700-tallet. det ville være en totalt feil, " +"katastrofalt for de viktigste kreative bedriftene i vÃ¥r kultur i dag." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But there is a space between zero and one, Internet culture " +"notwithstanding. And these massive shifts in the effective power of " +"copyright regulation, tied to increased concentration of the content " +"industry and resting in the hands of technology that will increasingly " +"enable control over the use of culture, should drive us to consider whether " +"another adjustment is called for. Not an adjustment that increases " +"copyright's power. Not an adjustment that increases its term. Rather, an " +"adjustment to restore the balance that has traditionally defined copyright's " +"regulation--a weakening of that regulation, to strengthen creativity." +msgstr "" +"men det er et mellomrom mellom null og én, Internett-kultur til tross for. " +"og disse massiv Skift i effektiv kraft av opphavsrett regulering, knyttet " +"til økt konsentrasjon av innhold industrien og hvile i hendene pÃ¥ teknologi " +"som i økende grad vil aktivere kontroll over bruken av kultur, bør kjøre oss " +"til Ã¥ vurdere om en annen justering kalles for. ikke en justering som øker " +"copyright's strøm. ikke en justering som øker sin sikt. snarere en justering " +"for Ã¥ gjenopprette balansen som tradisjonelt har definert copyright's " +"regulering--en svekkelse av den reguleringen, Ã¥ styrke kreativitet." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Copyright law has not been a rock of Gibraltar. It's not a set of constant " +"commitments that, for some mysterious reason, teenagers and geeks now flout. " +"Instead, copyright power has grown dramatically in a short period of time, " +"as the technologies of distribution and creation have changed and as " +"lobbyists have pushed for more control by copyright holders. Changes in the " +"past in response to changes in technology suggest that we may well need " +"similar changes in the future. And these changes have to be reductions in " +"the scope of copyright, in response to the extraordinary increase in control " +"that technology and the market enable." +msgstr "" +"lov om opphavsrett har ikke vært en rock of gibraltar. Det er ikke et sett " +"med konstant forpliktelser gir at for noen mystisk grunn, tenÃ¥ringer og " +"geeks nÃ¥ blaffen. i stedet, opphavsrett makt har vokst dramatisk i en kort " +"periode, som teknologien av distribusjons- og etableringen er endret og som " +"lobbyister har presset for mer kontroll av innehaver av opphavsrett. " +"endringer i siste endringene i teknologi tyder pÃ¥ at vi kan godt trenger " +"lignende endringer i fremtiden. og disse endringene mÃ¥ være reduksjoner i " +"omfanget av opphavsrett, svar pÃ¥ det ekstraordinære økning i kontrollen som " +"teknologi og markedet aktivere." + +#. PAGE BREAK 181 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"For the single point that is lost in this war on pirates is a point that we " +"see only after surveying the range of these changes. When you add together " +"the effect of changing law, concentrated markets, and changing technology, " +"together they produce an astonishing conclusion: Never in our history have " +"fewer had a legal right to control more of the development of our culture " +"than now." +msgstr "" +"for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi " +"ser bare etter kartlegging pÃ¥ rekke disse endringene. NÃ¥r du legger sammen " +"til effekten av Ã¥ endre loven, konsentrert markeder, og endre teknologien, " +"sammen de produserer en forbløffende konklusjon: aldri i vÃ¥r historie har " +"færre hadde en lovfestet rett til Ã¥ styre flere av utviklingen av vÃ¥r kultur " +"enn nÃ¥." + +#. f35 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Siva Vaidhyanathan captures a similar point in his \\\"four surrenders\\" +#| "\" of copyright law in the digital age. See Vaidhyanathan, 159­60." +msgid "" +"Siva Vaidhyanathan captures a similar point in his \"four surrenders\" of " +"copyright law in the digital age. See Vaidhyanathan, 159­60." +msgstr "" +"Siva vaidhyanathan registrerer en liknende punktet i sin \\\"fire etableres\\" +"\" om opphavsrett i den digitale tidsalderen. se vaidhyanathan, 159­60." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Not when copyrights were perpetual, for when copyrights were perpetual, they " +"affected only that precise creative work. Not when only publishers had the " +"tools to publish, for the market then was much more diverse. Not when there " +"were only three television networks, for even then, newspapers, film " +"studios, radio stations, and publishers were independent of the networks. " +"Never has copyright protected such a wide range of rights, against as broad " +"a range of actors, for a term that was remotely as long. This form of " +"regulation--a tiny regulation of a tiny part of the creative energy of a " +"nation at the founding--is now a massive regulation of the overall creative " +"process. Law plus technology plus the market now interact to turn this " +"historically benign regulation into the most significant regulation of " +"culture that our free society has known.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "This has been a long chapter. Its point can now be briefly stated." +msgstr "Dette har vært en lang kapittel. sitt punkt kan nÃ¥ kort oppgis." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"At the start of this book, I distinguished between commercial and " +"noncommercial culture. In the course of this chapter, I have distinguished " +"between copying a work and transforming it. We can now combine these two " +"distinctions and draw a clear map of the changes that copyright law has " +"undergone. In 1790, the law looked like this:" +msgstr "" +"i starten av denne boken skilte jeg mellom kommersielle og ikke-kommersiell " +"kultur. i løpet av dette kapitlet, har jeg skilte mellom kopiere et arbeid " +"og transformerer det. Vi kan nÃ¥ kombinere disse to utmerkelser og tegne en " +"Fjern tilordning av endringene som har gjennomgÃ¥tt en lov om opphavsrett. i " +"1790, loven sÃ¥ ut som dette:" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry> +msgid "PUBLISH" +msgstr "publisere" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry> +msgid "TRANSFORM" +msgstr "transformere" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Commercial" +msgstr "kommersielle" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "©" +msgstr "�" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Free" +msgstr "gratis" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "Noncommercial" +msgstr "reklamefrie" + +#. PAGE BREAK 182 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The act of publishing a map, chart, and book was regulated by copyright law. " +"Nothing else was. Transformations were free. And as copyright attached only " +"with registration, and only those who intended to benefit commercially would " +"register, copying through publishing of noncommercial work was also free." +msgstr "" +"loven av publisering pÃ¥ et kart, diagram og boken var regulert av lov om " +"opphavsrett. ingenting annet var. transformasjoner var gratis. og som " +"copyright tilknyttet bare med registrering, og bare de som ment Ã¥ gagne " +"kommersielt ville registrere, kopiere gjennom publisering av ikke-" +"kommersielt arbeid var ogsÃ¥ gratis." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "By the end of the nineteenth century, the law had changed to this:" +msgstr "ved slutten av det nittende Ã¥rhundre, hadde loven endres til dette:" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Derivative works were now regulated by copyright law--if published, which " +"again, given the economics of publishing at the time, means if offered " +"commercially. But noncommercial publishing and transformation were still " +"essentially free." +msgstr "" +"avledede var nÃ¥ regulert av lov om opphavsrett--Hvis publisert, som igjen, " +"gitt økonomien i publisering pÃ¥ tiden, betyr hvis tilbudt kommersielt. men " +"ikke-kommersiell publisering og transformasjon var fortsatt hovedsakelig " +"gratis." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In 1909 the law changed to regulate copies, not publishing, and after this " +"change, the scope of the law was tied to technology. As the technology of " +"copying became more prevalent, the reach of the law expanded. Thus by 1975, " +"as photocopying machines became more common, we could say the law began to " +"look like this:" +msgstr "" +"i 1909 loven endres til regulere Kopier, ikke publisere, og etter denne " +"endringen omfanget av loven var knyttet til teknologi. som teknologi med Ã¥ " +"kopiere ble mer utbredt, utvidet rekkevidden av loven. dermed ved 1975, " +"kunne som fotokopiering maskiner ble mer vanlig, vi si loven begynte Ã¥ se " +"slik ut:" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry> +msgid "COPY" +msgstr "Kopier" + +#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry> +msgid "©/Free" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The law was interpreted to reach noncommercial copying through, say, copy " +"machines, but still much of copying outside of the commercial market " +"remained free. But the consequence of the emergence of digital technologies, " +"especially in the context of a digital network, means that the law now looks " +"like this:" +msgstr "" +"loven ble tolket for Ã¥ nÃ¥ reklamefrie kopiering gjennom, si, kopimaskiner, " +"men fortsatt mye med Ã¥ kopiere utenfor det kommersielle markedet vært " +"gratis. men konsekvensen av fremveksten av digitale teknologier, spesielt i " +"sammenheng med en digital network, betyr at loven nÃ¥ ser slik ut:" + +#. PAGE BREAK 183 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Every realm is governed by copyright law, whereas before most creativity was " +"not. The law now regulates the full range of creativity-- commercial or not, " +"transformative or not--with the same rules designed to regulate commercial " +"publishers." +msgstr "" +"hver riket er underlagt lov om opphavsrett, mens før de fleste kreativitet " +"ikke var. loven regulerer nÃ¥ hele omfanget av kreativitet--kommersielle " +"eller ikke, transformative eller ikke – med de samme reglene som er utformet " +"for Ã¥ regulere kommersielle utgivere." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Obviously, copyright law is not the enemy. The enemy is regulation that does " +"no good. So the question that we should be asking just now is whether " +"extending the regulations of copyright law into each of these domains " +"actually does any good." +msgstr "" +"tydeligvis er lov om opphavsrett ikke fienden. fienden er regulering som " +"virker ikke godt. SÃ¥ spørsmÃ¥let som vi bør spørre akkurat nÃ¥ er enten utvide " +"forskrifter om opphavsrett i hver av disse domenene faktisk gjør noe bra." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I have no doubt that it does good in regulating commercial copying. But I " +"also have no doubt that it does more harm than good when regulating (as it " +"regulates just now) noncommercial copying and, especially, noncommercial " +"transformation. And increasingly, for the reasons sketched especially in " +"chapters 7 and 8, one might well wonder whether it does more harm than good " +"for commercial transformation. More commercial transformative work would be " +"created if derivative rights were more sharply restricted." +msgstr "" +"Jeg har ingen tvil om at den gjør bra i regulerer kommersielle kopiering. " +"men jeg har ingen tvil om at det gjør mer skade enn bra nÃ¥r regulerer (som " +"den regulerer akkurat nÃ¥) ikke-kommersiell kopiering og, spesielt, ikke-" +"kommersiell transformasjon ogsÃ¥. og i økende grad av Ã¥rsaker som skisserte " +"spesielt i kapitlene 7 og 8, en kan vel rart om det gjør mer skade enn godt " +"for kommersielle transformasjon. mer kommersielt transformative arbeid vil " +"bli opprettet hvis avledede rettigheter ble mer kraftig begrenset." + +#. f36 +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"It was the single most important contribution of the legal realist movement " +"to demonstrate that all property rights are always crafted to balance public " +"and private interests. See Thomas C. Grey, \"The Disintegration of Property," +"\" in Nomos XXII: Property, J. Roland Pennock and John W. Chapman, eds. " +"(New York: New York University Press, 1980)." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The issue is therefore not simply whether copyright is property. Of course " +"copyright is a kind of \"property,\" and of course, as with any property, " +"the state ought to protect it. But first impressions notwithstanding, " +"historically, this property right (as with all property rights<placeholder " +"type=\"footnote\" id=\"0\"/>) has been crafted to balance the important " +"need to give authors and artists incentives with the equally important need " +"to assure access to creative work. This balance has always been struck in " +"light of new technologies. And for almost half of our tradition, the " +"\"copyright\" did not control at all the freedom of others to build upon or " +"transform a creative work. American culture was born free, and for almost " +"180 years our country consistently protected a vibrant and rich free culture." +msgstr "" + +#. PAGE BREAK 184 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"We achieved that free culture because our law respected important limits on " +"the scope of the interests protected by \"property.\" The very birth of " +"\"copyright\" as a statutory right recognized those limits, by granting " +"copyright owners protection for a limited time only (the story of chapter " +"6). The tradition of \"fair use\" is animated by a similar concern that is " +"increasingly under strain as the costs of exercising any fair use right " +"become unavoidably high (the story of chapter 7). Adding statutory rights " +"where markets might stifle innovation is another familiar limit on the " +"property right that copyright is (chapter 8). And granting archives and " +"libraries a broad freedom to collect, claims of property notwithstanding, is " +"a crucial part of guaranteeing the soul of a culture (chapter 9). Free " +"cultures, like free markets, are built with property. But the nature of the " +"property that builds a free culture is very different from the extremist " +"vision that dominates the debate today." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Free culture is increasingly the casualty in this war on piracy. In response " +"to a real, if not yet quantified, threat that the technologies of the " +"Internet present to twentieth-century business models for producing and " +"distributing culture, the law and technology are being transformed in a way " +"that will undermine our tradition of free culture. The property right that " +"is copyright is no longer the balanced right that it was, or was intended to " +"be. The property right that is copyright has become unbalanced, tilted " +"toward an extreme. The opportunity to create and transform becomes weakened " +"in a world in which creation requires permission and creativity must check " +"with a lawyer." +msgstr "" +"fri kultur er stadig havariet i denne krigen mot piratkopiering. som svar pÃ¥ " +"en ekte, hvis ikke kvantifisert, trusselen som teknologien av Internett " +"presentere til 1900-tallet forretningsmodeller for produksjon og " +"distribusjon av kultur, blir lov og teknologi forvandlet pÃ¥ en mÃ¥te som vil " +"undergrave vÃ¥r tradisjon for fri kultur. eiendommen er copyright ikke lenger " +"rettigheten balansert som det var, eller var ment Ã¥ være. egenskapen akkurat " +"det vil si opphavsrett har blitt ubalansert, skrÃ¥stilt mot en ekstrem. " +"muligheten til Ã¥ opprette og transformere blir svekket i en verden der " +"oppretting krever tillatelse og kreativitet mÃ¥ kontrollere med en advokat." + +#. type: Content of: <book><chapter><title> +msgid "PUZZLES" +msgstr "puslespill" + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER ELEVEN: Chimera" +msgstr "Kapittel 11: chimera" + +#. f1. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, The " +"Country of the Blind and Other Stories, Michael Sherborne, ed. (New York: " +"Oxford University Press, 1996)." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In a well-known short story by H. G. Wells, a mountain climber named Nunez " +"trips (literally, down an ice slope) into an unknown and isolated valley in " +"the Peruvian Andes.<placeholder type=\"footnote\" id=\"0\"/> The valley is " +"extraordinarily beautiful, with \"sweet water, pasture, an even climate, " +"slopes of rich brown soil with tangles of a shrub that bore an excellent " +"fruit.\" But the villagers are all blind. Nunez takes this as an " +"opportunity. \"In the Country of the Blind,\" he tells himself, \"the One-" +"Eyed Man is King.\" So he resolves to live with the villagers to explore " +"life as a king." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Things don't go quite as he planned. He tries to explain the idea of sight " +"to the villagers. They don't understand. He tells them they are \"blind.\" " +"They don't have the word blind. They think he's just thick. Indeed, as they " +"increasingly notice the things he can't do (hear the sound of grass being " +"stepped on, for example), they increasingly try to control him. He, in turn, " +"becomes increasingly frustrated. \"`You don't understand,' he cried, in a " +"voice that was meant to be great and resolute, and which broke. `You are " +"blind and I can see. Leave me alone!'\"" +msgstr "" + +#. PAGE BREAK 187 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The villagers don't leave him alone. Nor do they see (so to speak) the " +"virtue of his special power. Not even the ultimate target of his affection, " +"a young woman who to him seems \"the most beautiful thing in the whole of " +"creation,\" understands the beauty of sight. Nunez's description of what he " +"sees \"seemed to her the most poetical of fancies, and she listened to his " +"description of the stars and the mountains and her own sweet white-lit " +"beauty as though it was a guilty indulgence.\" \"She did not believe,\" " +"Wells tells us, and \"she could only half understand, but she was " +"mysteriously delighted.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When Nunez announces his desire to marry his \"mysteriously delighted\" " +"love, the father and the village object. \"You see, my dear,\" her father " +"instructs, \"he's an idiot. He has delusions. He can't do anything right.\" " +"They take Nunez to the village doctor." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"After a careful examination, the doctor gives his opinion. \"His brain is " +"affected,\" he reports." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"What affects it?\" the father asks. \"Those queer things that are called " +"the eyes . . . are diseased . . . in such a way as to affect his brain.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The doctor continues: \"I think I may say with reasonable certainty that in " +"order to cure him completely, all that we need to do is a simple and easy " +"surgical operation--namely, to remove these irritant bodies [the eyes].\"" +msgstr "" + +#. PAGE BREAK 188 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Thank Heaven for science!\" says the father to the doctor. They inform " +"Nunez of this condition necessary for him to be allowed his bride. (You'll " +"have to read the original to learn what happens in the end. I believe in " +"free culture, but never in giving away the end of a story.) It sometimes " +"happens that the eggs of twins fuse in the mother's womb. That fusion " +"produces a \"chimera.\" A chimera is a single creature with two sets of DNA. " +"The DNA in the blood, for example, might be different from the DNA of the " +"skin. This possibility is an underused plot for murder mysteries. \"But the " +"DNA shows with 100 percent certainty that she was not the person whose blood " +"was at the scene. . . .\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Before I had read about chimeras, I would have said they were impossible. A " +"single person can't have two sets of DNA. The very idea of DNA is that it is " +"the code of an individual. Yet in fact, not only can two individuals have " +"the same set of DNA (identical twins), but one person can have two different " +"sets of DNA (a chimera). Our understanding of a \"person\" should reflect " +"this reality." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The more I work to understand the current struggle over copyright and " +"culture, which I've sometimes called unfairly, and sometimes not unfairly " +"enough, \"the copyright wars,\" the more I think we're dealing with a " +"chimera. For example, in the battle over the question \"What is p2p file " +"sharing?\" both sides have it right, and both sides have it wrong. One side " +"says, \"File sharing is just like two kids taping each others' records--the " +"sort of thing we've been doing for the last thirty years without any " +"question at all.\" That's true, at least in part. When I tell my best friend " +"to try out a new CD that I've bought, but rather than just send the CD, I " +"point him to my p2p server, that is, in all relevant respects, just like " +"what every executive in every recording company no doubt did as a kid: " +"sharing music." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But the description is also false in part. For when my p2p server is on a " +"p2p network through which anyone can get access to my music, then sure, my " +"friends can get access, but it stretches the meaning of \"friends\" beyond " +"recognition to say \"my ten thousand best friends\" can get access. Whether " +"or not sharing my music with my best friend is what \"we have always been " +"allowed to do,\" we have not always been allowed to share music with \"our " +"ten thousand best friends.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Likewise, when the other side says, \"File sharing is just like walking into " +"a Tower Records and taking a CD off the shelf and walking out with it,\" " +"that's true, at least in part. If, after Lyle Lovett (finally) releases a " +"new album, rather than buying it, I go to Kazaa and find a free copy to " +"take, that is very much like stealing a copy from Tower." +msgstr "" + +#. PAGE BREAK 189 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But it is not quite stealing from Tower. After all, when I take a CD from " +"Tower Records, Tower has one less CD to sell. And when I take a CD from " +"Tower Records, I get a bit of plastic and a cover, and something to show on " +"my shelves. (And, while we're at it, we could also note that when I take a " +"CD from Tower Records, the maximum fine that might be imposed on me, under " +"California law, at least, is $1,000. According to the RIAA, by contrast, if " +"I download a ten-song CD, I'm liable for $1,500,000 in damages.)" +msgstr "" +"men det er ikke helt stjele fra tÃ¥rnet. tross alt, nÃ¥r jeg tar en cd fra " +"tower records, har tÃ¥rnet en mindre cd Ã¥ selge. og nÃ¥r jeg tar en cd fra " +"tower records, fÃ¥r jeg en bit av plast og et dekke, og noe Ã¥ vise pÃ¥ min " +"hyller. (og mens vi er i gang, vi kan ogsÃ¥ oppmerksom pÃ¥ at nÃ¥r jeg tar en " +"cd fra tower records, maksimum fine som kan bli pÃ¥lagt pÃ¥ meg, under " +"california lov, i det minste er $1000. Ifølge riaa, derimot, er hvis jeg " +"dataoverføre en ti-sang-cd, jeg ansvarlig for $1,500,000 i skader.)" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The point is not that it is as neither side describes. The point is that it " +"is both--both as the RIAA describes it and as Kazaa describes it. It is a " +"chimera. And rather than simply denying what the other side asserts, we need " +"to begin to think about how we should respond to this chimera. What rules " +"should govern it?" +msgstr "" +"Poenget er ikke at det er som verken side beskriver. Poenget er at det er " +"bÃ¥de--bÃ¥de som riaa beskriver det og som kazaa beskriver den. Det er en " +"chimera. og i stedet for bare nekte pÃ¥ den andre siden hevder, vi trenger " +"for Ã¥ begynne Ã¥ tenke pÃ¥ hvordan vi skal reagere pÃ¥ denne chimera. hvilke " +"regler bør styre det?" + +#. f2. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"For an excellent summary, see the report prepared by GartnerG2 and the " +"Berkman Center for Internet and Society at Harvard Law School, \"Copyright " +"and Digital Media in a Post-Napster World,\" 27 June 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #33</ulink>. Reps. John " +"Conyers Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill " +"that would treat unauthorized on-line copying as a felony offense with " +"punishments ranging as high as five years imprisonment; see Jon Healey, " +"\"House Bill Aims to Up Stakes on Piracy,\" Los Angeles Times, 17 July 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #34</ulink>. " +"Civil penalties are currently set at $150,000 per copied song. For a recent " +"(and unsuccessful) legal challenge to the RIAA's demand that an ISP reveal " +"the identity of a user accused of sharing more than 600 songs through a " +"family computer, see RIAA v. Verizon Internet Services (In re. Verizon " +"Internet Services), 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could " +"face liability ranging as high as $90 million. Such astronomical figures " +"furnish the RIAA with a powerful arsenal in its prosecution of file sharers. " +"Settlements ranging from $12,000 to $17,500 for four students accused of " +"heavy file sharing on university networks must have seemed a mere pittance " +"next to the $98 billion the RIAA could seek should the matter proceed to " +"court. See Elizabeth Young, \"Downloading Could Lead to Fines,\" redandblack." +"com, August 2003, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #35</ulink>. For an example of the RIAA's targeting of student file " +"sharing, and of the subpoenas issued to universities to reveal student file-" +"sharer identities, see James Collins, \"RIAA Steps Up Bid to Force BC, MIT " +"to Name Students,\" Boston Globe, 8 August 2003, D3, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #36</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We could respond by simply pretending that it is not a chimera. We could, " +"with the RIAA, decide that every act of file sharing should be a felony. We " +"could prosecute families for millions of dollars in damages just because " +"file sharing occurred on a family computer. And we can get universities to " +"monitor all computer traffic to make sure that no computer is used to commit " +"this crime. These responses might be extreme, but each of them has either " +"been proposed or actually implemented.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Alternatively, we could respond to file sharing the way many kids act as " +"though we've responded. We could totally legalize it. Let there be no " +"copyright liability, either civil or criminal, for making copyrighted " +"content available on the Net. Make file sharing like gossip: regulated, if " +"at all, by social norms but not by law." +msgstr "" +"Alternativt kan vi svare pÃ¥ fildeling mÃ¥ten mange barn handle som om vi har " +"svart. Vi kunne helt legalisere det. La det være ingen opphavsrett ansvar, " +"sivil- eller strafferettslige, for Ã¥ gjøre opphavsrettsbeskyttet innhold " +"tilgjengelig pÃ¥ nettet. gjøre fildeling som sladder: regulert, hvis i det " +"hele tatt, av sosiale normer, men ikke av loven." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Either response is possible. I think either would be a mistake. Rather than " +"embrace one of these two extremes, we should embrace something that " +"recognizes the truth in both. And while I end this book with a sketch of a " +"system that does just that, my aim in the next chapter is to show just how " +"awful it would be for us to adopt the zero-tolerance extreme. I believe " +"either extreme would be worse than a reasonable alternative. But I believe " +"the zero-tolerance solution would be the worse of the two extremes." +msgstr "" +"enten svar er mulig. Jeg tror enten ville være feil. i stedet for Ã¥ omfavne " +"en av disse to ytterpunktene, bør vi omfavne noe som gjenkjenner sannheten i " +"begge. og mens jeg ender denne boken med en skisse av et system som gjør " +"bare at mÃ¥let mitt i neste kapittel er Ã¥ vise hvor forferdelig det ville " +"være for oss Ã¥ vedta nulltoleranse ekstreme. Jeg tror begge ekstrem ville " +"være verre enn et rimelig alternativ. men jeg tror den nulltoleranse " +"løsningen ville være verre av to ytterpunktene." + +#. PAGE BREAK 190 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet zero tolerance is increasingly our government's policy. In the middle of " +"the chaos that the Internet has created, an extraordinary land grab is " +"occurring. The law and technology are being shifted to give content holders " +"a kind of control over our culture that they have never had before. And in " +"this extremism, many an opportunity for new innovation and new creativity " +"will be lost." +msgstr "" +"Nulltoleranse er ennÃ¥ stadig vÃ¥re regjeringens politikk. midt i kaoset som " +"Internett har opprettet, skjer en ekstraordinære land grip. lov og teknologi " +"er flyttet for Ã¥ gi innhold holdere en type kontroll over vÃ¥r kultur at de " +"aldri har hatt før. og i denne ekstremisme, mange en mulighet for ny " +"innovasjon og nye kreativitet gÃ¥r tapt." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I'm not talking about the opportunities for kids to \"steal\" music. My " +"focus instead is the commercial and cultural innovation that this war will " +"also kill. We have never seen the power to innovate spread so broadly among " +"our citizens, and we have just begun to see the innovation that this power " +"will unleash. Yet the Internet has already seen the passing of one cycle of " +"innovation around technologies to distribute content. The law is responsible " +"for this passing. As the vice president for global public policy at one of " +"these new innovators, eMusic.com, put it when criticizing the DMCA's added " +"protection for copyrighted material," +msgstr "" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"eMusic opposes music piracy. We are a distributor of copyrighted material, " +"and we want to protect those rights." +msgstr "" +"eMusic motsetter musikk piratkopiering. Vi er distributør av " +"opphavsrettsbeskyttet materiale, og vi ønsker Ã¥ beskytte disse rettighetene." + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"But building a technology fortress that locks in the clout of the major " +"labels is by no means the only way to protect copyright interests, nor is it " +"necessarily the best. It is simply too early to answer that question. Market " +"forces operating naturally may very well produce a totally different " +"industry model." +msgstr "" +"men bygge en teknologi festning som lÃ¥ser i innflytelse av de store " +"etikettene er ikke den eneste mÃ¥ten Ã¥ beskytte opphavsretten interesser, og " +"heller ikke er det nødvendigvis best. Det er rett og Slett for tidlig Ã¥ " +"besvare det spørsmÃ¥let. markedskrefter operere naturlig kan godt gi en helt " +"annen industri-modell." + +#. f3. +#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para> +msgid "" +"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital " +"Entertainment on the Internet and Other Media: Hearing Before the " +"Subcommittee on Telecommunications, Trade, and Consumer Protection, House " +"Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, " +"vice president, Global Public Policy and Standards, EMusic.com), available " +"in LEXIS, Federal Document Clearing House Congressional Testimony File." +msgstr "" +"WIPO og dmca ett Ã¥r senere: vurdering av forbruker tilgang til digital " +"underholdning pÃ¥ Internett og andre medier: høre før subcommittee on " +"telekommunikasjon, handel og consumer protection, huset committee on " +"commerce, 106th cong. 29 (1999) (setning av peter harter, vice president, " +"global offentlig politikk og standarder, emusic.com), tilgjengelig i lexis, " +"føderale dokumentet Ã¥ fjerne huset Kongressens vitnesbyrd fil." + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"This is a critical point. The choices that industry sectors make with " +"respect to these systems will in many ways directly shape the market for " +"digital media and the manner in which digital media are distributed. This in " +"turn will directly influence the options that are available to consumers, " +"both in terms of the ease with which they will be able to access digital " +"media and the equipment that they will require to do so. Poor choices made " +"this early in the game will retard the growth of this market, hurting " +"everyone's interests.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In April 2001, eMusic.com was purchased by Vivendi Universal, one of \"the " +"major labels.\" Its position on these matters has now changed." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Reversing our tradition of tolerance now will not merely quash piracy. It " +"will sacrifice values that are important to this culture, and will kill " +"opportunities that could be extraordinarily valuable." +msgstr "" +"snu vÃ¥r tradisjon toleranse nÃ¥ vil ikke bare quash piratkopiering. det vil " +"ofre verdier som er viktig for denne kulturen og vil drepe muligheter som " +"kan være svært verdifull." + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER TWELVE: Harms" +msgstr "Kapittel 12: skader" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"To fight \"piracy,\" to protect \"property,\" the content industry has " +"launched a war. Lobbying and lots of campaign contributions have now brought " +"the government into this war. As with any war, this one will have both " +"direct and collateral damage. As with any war of prohibition, these damages " +"will be suffered most by our own people." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"My aim so far has been to describe the consequences of this war, in " +"particular, the consequences for \"free culture.\" But my aim now is to " +"extend this description of consequences into an argument. Is this war " +"justified?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In my view, it is not. There is no good reason why this time, for the first " +"time, the law should defend the old against the new, just when the power of " +"the property called \"intellectual property\" is at its greatest in our " +"history." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet \"common sense\" does not see it this way. Common sense is still on the " +"side of the Causbys and the content industry. The extreme claims of control " +"in the name of property still resonate; the uncritical rejection of \"piracy" +"\" still has play." +msgstr "" + +#. PAGE BREAK 193 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"There will be many consequences of continuing this war. I want to describe " +"just three. All three might be said to be unintended. I am quite confident " +"the third is unintended. I'm less sure about the first two. The first two " +"protect modern RCAs, but there is no Howard Armstrong in the wings to fight " +"today's monopolists of culture." +msgstr "" +"det vil være mange konsekvensene av fortsetter denne krigen. Jeg vil " +"beskrive bare tre. alle tre kan sies Ã¥ være utilsiktede. Jeg er ganske " +"sikker pÃ¥ tredjepart er utilsiktet. Jeg er mindre sikker pÃ¥ om to første. to " +"første beskytte moderne rcas, men det er ingen howard armstrong i vingene Ã¥ " +"bekjempe dagens monopolists kultur." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Constraining Creators" +msgstr "Begrensende skaperne" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In the next ten years we will see an explosion of digital technologies. " +"These technologies will enable almost anyone to capture and share content. " +"Capturing and sharing content, of course, is what humans have done since the " +"dawn of man. It is how we learn and communicate. But capturing and sharing " +"through digital technology is different. The fidelity and power are " +"different. You could send an e-mail telling someone about a joke you saw on " +"Comedy Central, or you could send the clip. You could write an essay about " +"the inconsistencies in the arguments of the politician you most love to " +"hate, or you could make a short film that puts statement against statement. " +"You could write a poem to express your love, or you could weave together a " +"string--a mash-up-- of songs from your favorite artists in a collage and " +"make it available on the Net." +msgstr "" +"i de neste ti Ã¥rene vil vi se en eksplosjon av digitale teknologier. disse " +"teknologiene kan nesten hvem som helst Ã¥ fange opp og dele innhold. Ã¥ fange " +"og dele innhold, selvfølgelig, er det mennesker har gjort siden begynnelsen " +"av mannen. Det er hvordan vi lære og kommunisere. men Ã¥ fange og dele " +"gjennom digital teknologi er forskjellig. gjengivelse og makt er " +"forskjellige. Du kan sende en e-postmelding fortelle noen om en spøk-du sÃ¥ " +"pÃ¥ comedy central, eller du kan sende klippet. Du kan skrive et essay om " +"inkonsekvenser i argumentene politiker du mest elsker Ã¥ hate, eller du kan " +"lage en kortfilm som setter setning mot setningen. Du kan skrive et dikt for " +"Ã¥ uttrykke din kjærlighet, eller du kan veve sammen en streng--en Mashup--av " +"sanger fra dine favoritt artister i en collage og gjøre den tilgjengelig pÃ¥ " +"nettet." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This digital \"capturing and sharing\" is in part an extension of the " +"capturing and sharing that has always been integral to our culture, and in " +"part it is something new. It is continuous with the Kodak, but it explodes " +"the boundaries of Kodak-like technologies. The technology of digital " +"\"capturing and sharing\" promises a world of extraordinarily diverse " +"creativity that can be easily and broadly shared. And as that creativity is " +"applied to democracy, it will enable a broad range of citizens to use " +"technology to express and criticize and contribute to the culture all around." +msgstr "" + +#. PAGE BREAK 194 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Technology has thus given us an opportunity to do something with culture " +"that has only ever been possible for individuals in small groups, isolated " +"from others. Think about an old man telling a story to a collection of " +"neighbors in a small town. Now imagine that same storytelling extended " +"across the globe." +msgstr "" +"teknologien har dermed gitt oss en mulighet til Ã¥ gjøre noe med kultur som " +"bare har vært mulig for enkeltpersoner i smÃ¥ grupper, isolert fra andre. " +"Tenk pÃ¥ en gammel mann forteller en historie til en samling med naboer i en " +"liten by. NÃ¥ forestille det samme fortellinger utvidet over hele verden." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Yet all this is possible only if the activity is presumptively legal. In the " +"current regime of legal regulation, it is not. Forget file sharing for a " +"moment. Think about your favorite amazing sites on the Net. Web sites that " +"offer plot summaries from forgotten television shows; sites that catalog " +"cartoons from the 1960s; sites that mix images and sound to criticize " +"politicians or businesses; sites that gather newspaper articles on remote " +"topics of science or culture. There is a vast amount of creative work spread " +"across the Internet. But as the law is currently crafted, this work is " +"presumptively illegal." +msgstr "" +"ennÃ¥ er alt dette mulig bare hvis aktiviteten er presumptively lovlig. i " +"dagens regime av juridiske regulering er det ikke. glem fildeling for et " +"øyeblikk. Tenk pÃ¥ din favoritt fantastiske nettsteder pÃ¥ nettet. webomrÃ¥der " +"som tilbyr tomten sammendrag fra glemt TV viser; omrÃ¥der katalogen " +"tegneserier fra 1960-tallet; omrÃ¥der som blande bilder og lyd Ã¥ kritisere " +"politikere eller foretak. omrÃ¥der som samler avisartikler pÃ¥ ekstern emner " +"av vitenskap eller kultur. Det er en enorm mengde skapende arbeid spredt " +"over Internett. men som loven er nÃ¥ laget, dette arbeidet er presumptively " +"ugyldig." + +#. f1. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Lynne W. Jeter, Disconnected: Deceit and Betrayal at WorldCom (Hoboken, " +"N.J.: John Wiley & Sons, 2003), 176, 204; for details of the settlement, " +"see MCI press release, \"MCI Wins U.S. District Court Approval for SEC " +"Settlement\" (7 July 2003), available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #37</ulink>." +msgstr "" + +#. f2. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"The bill, modeled after California's tort reform model, was passed in the " +"House of Representatives but defeated in a Senate vote in July 2003. For an " +"overview, see Tanya Albert, \"Measure Stalls in Senate: `We'll Be Back,' Say " +"Tort Reformers,\" amednews.com, 28 July 2003, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #38</ulink>, and \"Senate Turns Back " +"Malpractice Caps,\" CBSNews.com, 9 July 2003, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #39</ulink>. President Bush has " +"continued to urge tort reform in recent months." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"That presumption will increasingly chill creativity, as the examples of " +"extreme penalties for vague infringements continue to proliferate. It is " +"impossible to get a clear sense of what's allowed and what's not, and at the " +"same time, the penalties for crossing the line are astonishingly harsh. The " +"four students who were threatened by the RIAA ( Jesse Jordan of chapter 3 " +"was just one) were threatened with a $98 billion lawsuit for building search " +"engines that permitted songs to be copied. Yet World-Com--which defrauded " +"investors of $11 billion, resulting in a loss to investors in market " +"capitalization of over $200 billion--received a fine of a mere $750 million." +"<placeholder type=\"footnote\" id=\"0\"/> And under legislation being pushed " +"in Congress right now, a doctor who negligently removes the wrong leg in an " +"operation would be liable for no more than $250,000 in damages for pain and " +"suffering.<placeholder type=\"footnote\" id=\"1\"/> Can common sense " +"recognize the absurdity in a world where the maximum fine for downloading " +"two songs off the Internet is more than the fine for a doctor's negligently " +"butchering a patient?" +msgstr "" + +#. f3. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Danit Lidor, \"Artists Just Wanna Be Free,\" Wired, 7 July 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #40</ulink>. " +"For an overview of the exhibition, see <ulink url=\"http://free-culture.cc/" +"notes/\">link #41</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The consequence of this legal uncertainty, tied to these extremely high " +"penalties, is that an extraordinary amount of creativity will either never " +"be exercised, or never be exercised in the open. We drive this creative " +"process underground by branding the modern-day Walt Disneys \"pirates.\" We " +"make it impossible for businesses to rely upon a public domain, because the " +"boundaries of the public domain are designed to be unclear. It never pays to " +"do anything except pay for the right to create, and hence only those who can " +"pay are allowed to create. As was the case in the Soviet Union, though for " +"very different reasons, we will begin to see a world of underground art--not " +"because the message is necessarily political, or because the subject is " +"controversial, but because the very act of creating the art is legally " +"fraught. Already, exhibits of \"illegal art\" tour the United States." +"<placeholder type=\"footnote\" id=\"0\"/> In what does their \"illegality\" " +"consist? In the act of mixing the culture around us with an expression that " +"is critical or reflective." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Part of the reason for this fear of illegality has to do with the changing " +"law. I described that change in detail in chapter 10. But an even bigger " +"part has to do with the increasing ease with which infractions can be " +"tracked. As users of file-sharing systems discovered in 2002, it is a " +"trivial matter for copyright owners to get courts to order Internet service " +"providers to reveal who has what content. It is as if your cassette tape " +"player transmitted a list of the songs that you played in the privacy of " +"your own home that anyone could tune into for whatever reason they chose." +msgstr "" +"en del av Ã¥rsaken til denne frykten for illegality har Ã¥ gjøre med endring " +"loven. jeg beskrevet den endringen i detalj i kapittel 10. men en enda " +"større del har Ã¥ gjøre med den økende enkelt som brudd kan spores. som " +"brukere av fildelings-systemer som er oppdaget i 2002, det er en triviell " +"sak for opphavsrett eiere Ã¥ fÃ¥ domstoler Ã¥ bestille Internett-leverandører Ã¥ " +"avsløre hvem som har hvilket innhold. Det er som hvis tape kassettspilleren " +"sendt en liste over sanger som du har spilt i personvernet til din egen " +"hjemmeside som noen kunne tune inn uansett grunn de valgte." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Never in our history has a painter had to worry about whether his painting " +"infringed on someone else's work; but the modern-day painter, using the " +"tools of Photoshop, sharing content on the Web, must worry all the time. " +"Images are all around, but the only safe images to use in the act of " +"creation are those purchased from Corbis or another image farm. And in " +"purchasing, censoring happens. There is a free market in pencils; we needn't " +"worry about its effect on creativity. But there is a highly regulated, " +"monopolized market in cultural icons; the right to cultivate and transform " +"them is not similarly free." +msgstr "" +"aldri i vÃ¥r historie har en maler hadde Ã¥ bekymre deg om hans maleri krenket " +"pÃ¥ noen andre 's arbeid; men dagens maleren, ved hjelp av verktøyene i " +"photoshop, deling av innhold pÃ¥ nettet, mÃ¥ bekymre deg hele tiden. bilder er " +"rundt, men de eneste sikre bildene som skal brukes i loven av etableringen " +"er de kjøpt fra corbis eller en annen bilde farm. og i Ã¥ kjøpe, sensurere " +"skjer. Det er et fritt marked i blyanter; Vi trenger ikke bekymre deg om sin " +"effekt pÃ¥ kreativitet. men det er en svært regulert, monopolized markedet i " +"kulturelle: ikoner; retten til Ã¥ dyrke og forvandle dem er ikke pÃ¥ samme " +"mÃ¥te gratis." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Lawyers rarely see this because lawyers are rarely empirical. As I described " +"in chapter 7, in response to the story about documentary filmmaker Jon Else, " +"I have been lectured again and again by lawyers who insist Else's use was " +"fair use, and hence I am wrong to say that the law regulates such a use." +msgstr "" +"advokater se sjelden dette fordi advokater er sjelden empirisk. som jeg " +"beskrevet i kapittel 7, som svar pÃ¥ historien om dokumentar filmskaper jon " +"annet, jeg har vært forelest igjen og igjen av advokater som insisterer " +"ellers har bruk var rettferdig bruk, og derfor er jeg feil Ã¥ si at loven " +"regulerer slik bruk." + +#. PAGE BREAK 196 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But fair use in America simply means the right to hire a lawyer to defend " +"your right to create. And as lawyers love to forget, our system for " +"defending rights such as fair use is astonishingly bad--in practically every " +"context, but especially here. It costs too much, it delivers too slowly, and " +"what it delivers often has little connection to the justice underlying the " +"claim. The legal system may be tolerable for the very rich. For everyone " +"else, it is an embarrassment to a tradition that prides itself on the rule " +"of law." +msgstr "" +"men rimelig bruk i Amerika betyr ganske enkelt rett til Ã¥ leie en advokat " +"for Ã¥ forsvare din rett til Ã¥ opprette. og som advokater elsker Ã¥ glemme, " +"systemet vÃ¥rt for Ã¥ forsvare rettigheter for eksempel rimelig bruk er " +"astonishingly dÃ¥rlig--i praktisk talt alle sammenheng, men spesielt her. Det " +"koster for mye, det leverer for tregt, og hva leverer ofte har liten " +"forbindelse til rettferdighet underliggende kravet. Det kan hende at " +"juridisk system utholdelig for de svært rike. for alle andre er det en " +"forlegenhet til en tradisjon som prides seg pÃ¥ rettssikkerhet." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Judges and lawyers can tell themselves that fair use provides adequate " +"\"breathing room\" between regulation by the law and the access the law " +"should allow. But it is a measure of how out of touch our legal system has " +"become that anyone actually believes this. The rules that publishers impose " +"upon writers, the rules that film distributors impose upon filmmakers, the " +"rules that newspapers impose upon journalists-- these are the real laws " +"governing creativity. And these rules have little relationship to the \"law" +"\" with which judges comfort themselves." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"For in a world that threatens $150,000 for a single willful infringement of " +"a copyright, and which demands tens of thousands of dollars to even defend " +"against a copyright infringement claim, and which would never return to the " +"wrongfully accused defendant anything of the costs she suffered to defend " +"her right to speak--in that world, the astonishingly broad regulations that " +"pass under the name \"copyright\" silence speech and creativity. And in that " +"world, it takes a studied blindness for people to continue to believe they " +"live in a culture that is free." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me," +msgstr "som jed horovitz, forretningsmann bak video rørledning, sa til meg," + +#. PAGE BREAK 197 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"We're losing [creative] opportunities right and left. Creative people are " +"being forced not to express themselves. Thoughts are not being expressed. " +"And while a lot of stuff may [still] be created, it still won't get " +"distributed. Even if the stuff gets made . . . you're not going to get it " +"distributed in the mainstream media unless you've got a little note from a " +"lawyer saying, \"This has been cleared.\" You're not even going to get it on " +"PBS without that kind of permission. That's the point at which they control " +"it." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Constraining Innovators" +msgstr "Begrensende innovators" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The story of the last section was a crunchy-lefty story--creativity quashed, " +"artists who can't speak, yada yada yada. Maybe that doesn't get you going. " +"Maybe you think there's enough weird art out there, and enough expression " +"that is critical of what seems to be just about everything. And if you " +"think that, you might think there's little in this story to worry you." +msgstr "" +"historien om den siste delen var en crunchy lefty historie--kreativitet " +"ødela, kunstnere som ikke kan snakke, yada babbelet. kanskje det ikke komme " +"i gang. kanskje tror du det er nok rare kunst der ute, og nok uttrykk som er " +"kritisk til hva synes Ã¥ være omtrent alt. og hvis du tror at du kanskje tror " +"det er lite i denne historien Ã¥ bekymre deg over." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But there's an aspect of this story that is not lefty in any sense. Indeed, " +"it is an aspect that could be written by the most extreme promarket " +"ideologue. And if you're one of these sorts (and a special one at that, 188 " +"pages into a book like this), then you can see this other aspect by " +"substituting \"free market\" every place I've spoken of \"free culture.\" " +"The point is the same, even if the interests affecting culture are more " +"fundamental." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The charge I've been making about the regulation of culture is the same " +"charge free marketers make about regulating markets. Everyone, of course, " +"concedes that some regulation of markets is necessary--at a minimum, we need " +"rules of property and contract, and courts to enforce both. Likewise, in " +"this culture debate, everyone concedes that at least some framework of " +"copyright is also required. But both perspectives vehemently insist that " +"just because some regulation is good, it doesn't follow that more regulation " +"is better. And both perspectives are constantly attuned to the ways in which " +"regulation simply enables the powerful industries of today to protect " +"themselves against the competitors of tomorrow." +msgstr "" +"Jeg har vært Ã¥ gjøre om regulering av kultur er samme tillegget gratis " +"markedsførere gjøre om regulerer markeder. enhver, selvfølgelig innrømme at " +"noen regulering av markeder er nødvendig--et minimum, vi trenger reglene for " +"egenskapen og kontrakt og domstolene for Ã¥ hÃ¥ndheve begge. pÃ¥ samme mÃ¥te i " +"denne kultur debatten innrømme enhver at minst noen rammen av copyright er " +"ogsÃ¥ nødvendig. men begge perspektiver insisterer vehemently at bare fordi " +"noen regulering er bra, ikke det følger at mer regulering er bedre. og begge " +"perspektiver er stadig attuned til mÃ¥tene i hvilke regulering aktiverer bare " +"de kraftige industriene i dag for Ã¥ beskytte seg mot konkurrenter i morgen." + +#. PAGE BREAK 198 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is the single most dramatic effect of the shift in regulatory strategy " +"that I described in chapter 10. The consequence of this massive threat of " +"liability tied to the murky boundaries of copyright law is that innovators " +"who want to innovate in this space can safely innovate only if they have the " +"sign-off from last generation's dominant industries. That lesson has been " +"taught through a series of cases that were designed and executed to teach " +"venture capitalists a lesson. That lesson--what former Napster CEO Hank " +"Barry calls a \"nuclear pall\" that has fallen over the Valley--has been " +"learned." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Consider one example to make the point, a story whose beginning I told in " +"The Future of Ideas and which has progressed in a way that even I (pessimist " +"extraordinaire) would never have predicted." +msgstr "" +"vurdere ett eksempel for Ã¥ gjøre punktet, en historie som begynnelsen jeg " +"fortalt i fremtiden for ideer og som har kommet i en mÃ¥te at selv jeg " +"(pessimist extraordinaire) ville aldri ha forutsett." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In 1997, Michael Roberts launched a company called MP3.com. MP3.com was " +"keen to remake the music business. Their goal was not just to facilitate new " +"ways to get access to content. Their goal was also to facilitate new ways to " +"create content. Unlike the major labels, MP3.com offered creators a venue to " +"distribute their creativity, without demanding an exclusive engagement from " +"the creators." +msgstr "" +"i 1997, michael roberts lansert et firma som heter mp3.com. MP3.com var " +"opptatt av Ã¥ remake musikkbransjen. deres mÃ¥l var ikke bare for Ã¥ lette nye " +"mÃ¥ter Ã¥ fÃ¥ tilgang til innhold. deres mÃ¥l var ogsÃ¥ Ã¥ lette nye mÃ¥ter Ã¥ lage " +"innhold. i motsetning til de store plateselskapene tilbudt mp3.com skaperne " +"en arena for Ã¥ distribuere sine kreativitet, uten Ã¥ kreve en eksklusiv " +"engasjement fra skaperne." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"To make this system work, however, MP3.com needed a reliable way to " +"recommend music to its users. The idea behind this alternative was to " +"leverage the revealed preferences of music listeners to recommend new " +"artists. If you like Lyle Lovett, you're likely to enjoy Bonnie Raitt. And " +"so on." +msgstr "" +"Hvis du vil gjøre dette systemet fungerer, men trengte mp3.com en pÃ¥litelig " +"mÃ¥te Ã¥ anbefale musikk til sine brukere. Ideen bak denne alternative var Ã¥ " +"utnytte Ã¥penbarte innstillingene av musikk lyttere Ã¥ anbefale nye artister. " +"Hvis du liker lyle lovett, sannsynligvis du til Ã¥ nyte bonnie raitt. og sÃ¥ " +"videre." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This idea required a simple way to gather data about user preferences. MP3." +"com came up with an extraordinarily clever way to gather this preference " +"data. In January 2000, the company launched a service called my.mp3.com. " +"Using software provided by MP3.com, a user would sign into an account and " +"then insert into her computer a CD. The software would identify the CD, and " +"then give the user access to that content. So, for example, if you inserted " +"a CD by Jill Sobule, then wherever you were--at work or at home--you could " +"get access to that music once you signed into your account. The system was " +"therefore a kind of music-lockbox." +msgstr "" + +#. PAGE BREAK 199 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"No doubt some could use this system to illegally copy content. But that " +"opportunity existed with or without MP3.com. The aim of the my.mp3.com " +"service was to give users access to their own content, and as a by-product, " +"by seeing the content they already owned, to discover the kind of content " +"the users liked." +msgstr "" +"ingen tvil kan noen bruker dette systemet til Ã¥ kopiere ulovlig innhold. men " +"at mulighet eksistert med eller uten mp3.com. mÃ¥let for my.mp3.com-tjenesten " +"var Ã¥ gi brukere tilgang til sitt eget innhold, og er et biprodukt ved Ã¥ se " +"innholdet de allerede eid, til Ã¥ oppdage hva slags innhold som brukerne " +"likte." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"To make this system function, however, MP3.com needed to copy 50,000 CDs to " +"a server. (In principle, it could have been the user who uploaded the music, " +"but that would have taken a great deal of time, and would have produced a " +"product of questionable quality.) It therefore purchased 50,000 CDs from a " +"store, and started the process of making copies of those CDs. Again, it " +"would not serve the content from those copies to anyone except those who " +"authenticated that they had a copy of the CD they wanted to access. So while " +"this was 50,000 copies, it was 50,000 copies directed at giving customers " +"something they had already bought." +msgstr "" +"Hvis du vil gjøre denne systemfunksjon, men mp3.com nødvendig Ã¥ kopiere " +"50.000 CDer til en server. (i prinsippet, det kunne ha vært brukeren som " +"lastet opp musikken, men som ville ha tatt mye tid, og ville har produsert " +"et produkt av tvilsom kvalitet.) Det er derfor kjøpt 50.000 CDer fra en " +"butikk, og startet prosessen med Ã¥ lage kopier av disse CDene. igjen, det " +"ville ikke tjene innholdet fra de kopiene til alle bortsett fra de som " +"godkjent at de hadde en kopi av cd de ønsket Ã¥ fÃ¥ tilgang til. sÃ¥ selv om " +"dette var 50 000 eksemplarer, det var 50,000 kopier som er rettet mot Ã¥ gi " +"kunder noe de hadde allerede kjøpt." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Nine days after MP3.com launched its service, the five major labels, headed " +"by the RIAA, brought a lawsuit against MP3.com. MP3.com settled with four of " +"the five. Nine months later, a federal judge found MP3.com to have been " +"guilty of willful infringement with respect to the fifth. Applying the law " +"as it is, the judge imposed a fine against MP3.com of $118 million. MP3.com " +"then settled with the remaining plaintiff, Vivendi Universal, paying over " +"$54 million. Vivendi purchased MP3.com just about a year later." +msgstr "" +"ni dager etter mp3.com lansert sin tjeneste, brakte de fem store etikettene, " +"ledet av riaa, en sak mot mp3.com. MP3.com utlignet med fire av de fem. ni " +"mÃ¥neder senere, en føderal dommer funnet mp3.com Ã¥ ha vært skyldig i willful " +"brudd med hensyn til femte. Ã¥ bruke loven som det er, pÃ¥lagt dommeren en bot " +"mot mp3.com av 118 millioner. MP3.com deretter utlignet med gjenstÃ¥ende " +"saksøker, vivendi universal, betaler over $54 millioner. Vivendi kjøpt mp3." +"com omtrent et Ã¥r senere." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "That part of the story I have told before. Now consider its conclusion." +msgstr "som en del av historien jeg har fortalt før. nÃ¥ Vurder sin konklusjon." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"After Vivendi purchased MP3.com, Vivendi turned around and filed a " +"malpractice lawsuit against the lawyers who had advised it that they had a " +"good faith claim that the service they wanted to offer would be considered " +"legal under copyright law. This lawsuit alleged that it should have been " +"obvious that the courts would find this behavior illegal; therefore, this " +"lawsuit sought to punish any lawyer who had dared to suggest that the law " +"was less restrictive than the labels demanded." +msgstr "" +"etter at vivendi kjøpt mp3.com, vivendi slÃ¥tt rundt og arkivert en " +"malpractice prosess mot jurister som hadde anbefales det at de hadde en god " +"tro hevder at de ønsket Ã¥ tilby tjenesten vil bli vurdert juridiske lover om " +"opphavsrett. Dette søksmÃ¥let pÃ¥stÃ¥tt at det burde vært Ã¥penbart at " +"domstolene ville finne denne virkemÃ¥ten ulovlig; Derfor var dette søksmÃ¥let " +"søkt Ã¥ straffe noen advokat som hadde vÃ¥get Ã¥ foreslÃ¥ at loven mindre " +"restriktive enn etikettene krevde." + +#. PAGE BREAK 200 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The clear purpose of this lawsuit (which was settled for an unspecified " +"amount shortly after the story was no longer covered in the press) was to " +"send an unequivocal message to lawyers advising clients in this space: It is " +"not just your clients who might suffer if the content industry directs its " +"guns against them. It is also you. So those of you who believe the law " +"should be less restrictive should realize that such a view of the law will " +"cost you and your firm dearly." +msgstr "" +"Fjern hensikten med dette søksmÃ¥let (som ble avgjort i en uspesifisert " +"periode kort tid etter at historien ble ikke lenger dekket i pressen) var Ã¥ " +"sende en utvetydig melding til advokater rÃ¥dgivning klienter i dette rommet: " +"det er ikke bare klientene som kanskje lider Hvis innhold industrien " +"dirigerer sine vÃ¥pen mot dem. Det er ogsÃ¥ deg. sÃ¥ de av dere som tror loven " +"bør være mindre bør restriktive innse at slikt syn pÃ¥ loven vil koste deg og " +"ditt firma dyrt." + +#. f4. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" Los Angeles Times, " +"23 April 2003. For a parallel argument about the effects on innovation in " +"the distribution of music, see Janelle Brown, \"The Music Revolution Will " +"Not Be Digitized,\" Salon.com, 1 June 2001, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #42</ulink>. See also Jon Healey, \"Online " +"Music Services Besieged,\" Los Angeles Times, 28 May 2001." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This strategy is not just limited to the lawyers. In April 2003, Universal " +"and EMI brought a lawsuit against Hummer Winblad, the venture capital firm " +"(VC) that had funded Napster at a certain stage of its development, its " +"cofounder ( John Hummer), and general partner (Hank Barry).<placeholder type=" +"\"footnote\" id=\"0\"/> The claim here, as well, was that the VC should have " +"recognized the right of the content industry to control how the industry " +"should develop. They should be held personally liable for funding a company " +"whose business turned out to be beyond the law. Here again, the aim of the " +"lawsuit is transparent: Any VC now recognizes that if you fund a company " +"whose business is not approved of by the dinosaurs, you are at risk not just " +"in the marketplace, but in the courtroom as well. Your investment buys you " +"not only a company, it also buys you a lawsuit. So extreme has the " +"environment become that even car manufacturers are afraid of technologies " +"that touch content. In an article in Business 2.0, Rafe Needleman describes " +"a discussion with BMW:" +msgstr "" + +#. f5. +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "" +"Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16 June 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #43</ulink>. " +"I am grateful to Dr. Mohammad Al-Ubaydli for this example." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"I asked why, with all the storage capacity and computer power in the car, " +"there was no way to play MP3 files. I was told that BMW engineers in Germany " +"had rigged a new vehicle to play MP3s via the car's built-in sound system, " +"but that the company's marketing and legal departments weren't comfortable " +"with pushing this forward for release stateside. Even today, no new cars are " +"sold in the United States with bona fide MP3 players. . . . <placeholder " +"type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is the world of the mafia--filled with \"your money or your life\" " +"offers, governed in the end not by courts but by the threats that the law " +"empowers copyright holders to exercise. It is a system that will obviously " +"and necessarily stifle new innovation. It is hard enough to start a company. " +"It is impossibly hard if that company is constantly threatened by litigation." +msgstr "" + +#. PAGE BREAK 201 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The point is not that businesses should have a right to start illegal " +"enterprises. The point is the definition of \"illegal.\" The law is a mess " +"of uncertainty. We have no good way to know how it should apply to new " +"technologies. Yet by reversing our tradition of judicial deference, and by " +"embracing the astonishingly high penalties that copyright law imposes, that " +"uncertainty now yields a reality which is far more conservative than is " +"right. If the law imposed the death penalty for parking tickets, we'd not " +"only have fewer parking tickets, we'd also have much less driving. The same " +"principle applies to innovation. If innovation is constantly checked by this " +"uncertain and unlimited liability, we will have much less vibrant innovation " +"and much less creativity." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The point is directly parallel to the crunchy-lefty point about fair use. " +"Whatever the \"real\" law is, realism about the effect of law in both " +"contexts is the same. This wildly punitive system of regulation will " +"systematically stifle creativity and innovation. It will protect some " +"industries and some creators, but it will harm industry and creativity " +"generally. Free market and free culture depend upon vibrant competition. " +"Yet the effect of the law today is to stifle just this kind of competition. " +"The effect is to produce an overregulated culture, just as the effect of too " +"much control in the market is to produce an overregulatedregulated market." +msgstr "" + +#. PAGE BREAK 202 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The building of a permission culture, rather than a free culture, is the " +"first important way in which the changes I have described will burden " +"innovation. A permission culture means a lawyer's culture--a culture in " +"which the ability to create requires a call to your lawyer. Again, I am not " +"antilawyer, at least when they're kept in their proper place. I am certainly " +"not antilaw. But our profession has lost the sense of its limits. And " +"leaders in our profession have lost an appreciation of the high costs that " +"our profession imposes upon others. The inefficiency of the law is an " +"embarrassment to our tradition. And while I believe our profession should " +"therefore do everything it can to make the law more efficient, it should at " +"least do everything it can to limit the reach of the law where the law is " +"not doing any good. The transaction costs buried within a permission culture " +"are enough to bury a wide range of creativity. Someone needs to do a lot of " +"justifying to justify that result. The uncertainty of the law is one burden " +"on innovation. There is a second burden that operates more directly. This is " +"the effort by many in the content industry to use the law to directly " +"regulate the technology of the Internet so that it better protects their " +"content." +msgstr "" +"byggingen av en tillatelse-kultur, i stedet for en fri kultur, er den første " +"viktige mÃ¥ten der vil endringene jeg har beskrevet byrden innovasjon. en " +"tillatelse kultur betyr en advokat kultur--en kultur der muligheten til Ã¥ " +"opprette krever en telefonsamtale til din advokat. igjen, jeg er ikke " +"antilawyer, minst nÃ¥r de er holdt i deres riktig sted. Jeg er sikkert ikke " +"antilaw. Men vÃ¥rt yrke har mistet følelsen av sine grenser. og ledere i vÃ¥r " +"profesjon har mistet en styrking av de høye kostnadene som vÃ¥rt yrke " +"pÃ¥legger over andre. ineffektiviteten i loven er en forlegenhet til vÃ¥r " +"tradisjon. og mens jeg tror vÃ¥rt yrke bør derfor gjøre alt den kan for Ã¥ " +"effektivisere loven, det bør minst gjøre alt den kan for Ã¥ begrense " +"rekkevidden av loven der loven ikke gjør noe bra. transaksjonskostnader " +"begravde innen en tillatelse kultur er nok Ã¥ begrave et bredt spekter av " +"kreativitet. noen mÃ¥ gjøre en masse rettferdiggjørende for Ã¥ rettferdiggjøre " +"dette resultatet. Usikkerheten av loven er en byrde pÃ¥ innovasjon. Det er en " +"andre byrde som opererer mer direkte. Dette er innsats av mange i bransjen " +"innhold for Ã¥ bruke loven til Ã¥ regulere direkte teknologi pÃ¥ Internett slik " +"at det bedre beskytter innholdet." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The motivation for this response is obvious. The Internet enables the " +"efficient spread of content. That efficiency is a feature of the Internet's " +"design. But from the perspective of the content industry, this feature is a " +"\"bug.\" The efficient spread of content means that content distributors " +"have a harder time controlling the distribution of content. One obvious " +"response to this efficiency is thus to make the Internet less efficient. If " +"the Internet enables \"piracy,\" then, this response says, we should break " +"the kneecaps of the Internet." +msgstr "" + +#. f6. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"\"Copyright and Digital Media in a Post-Napster World,\" GartnerG2 and the " +"Berkman Center for Internet and Society at Harvard Law School (2003), 33­35, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #44</ulink>." +msgstr "" + +#. f7. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "GartnerG2, 26­27." +msgid "GartnerG2, 26­27." +msgstr "gartnerg2, 26­27." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The examples of this form of legislation are many. At the urging of the " +"content industry, some in Congress have threatened legislation that would " +"require computers to determine whether the content they access is protected " +"or not, and to disable the spread of protected content.<placeholder type=" +"\"footnote\" id=\"0\"/> Congress has already launched proceedings to explore " +"a mandatory \"broadcast flag\" that would be required on any device capable " +"of transmitting digital video (i.e., a computer), and that would disable the " +"copying of any content that is marked with a broadcast flag. Other members " +"of Congress have proposed immunizing content providers from liability for " +"technology they might deploy that would hunt down copyright violators and " +"disable their machines.<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. PAGE BREAK 203 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In one sense, these solutions seem sensible. If the problem is the code, why " +"not regulate the code to remove the problem. But any regulation of technical " +"infrastructure will always be tuned to the particular technology of the day. " +"It will impose significant burdens and costs on the technology, but will " +"likely be eclipsed by advances around exactly those requirements." +msgstr "" +"i en forstand synes disse løsningene fornuftig. Hvis problemet er koden, " +"hvorfor ikke regulere koden for Ã¥ fjerne problemet. men noen regulering av " +"tekniske infrastruktur vil alltid er stilt inn pÃ¥ bestemt teknologi av " +"dagen. det vil innføre betydelig byrder og kostnader pÃ¥ teknologi, men vil " +"trolig være eclipsed av fremskritt rundt akkurat disse kravene." + +#. f8. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See David McGuire, \"Tech Execs Square Off Over Piracy,\" Newsbytes, " +"February 2002 (Entertainment)." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In March 2002, a broad coalition of technology companies, led by Intel, " +"tried to get Congress to see the harm that such legislation would impose." +"<placeholder type=\"footnote\" id=\"0\"/> Their argument was obviously not " +"that copyright should not be protected. Instead, they argued, any protection " +"should not do more harm than good." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"There is one more obvious way in which this war has harmed innovation--" +"again, a story that will be quite familiar to the free market crowd." +msgstr "" +"Det er en tydeligere mÃ¥te der denne krigen har skadet innovasjon - igjen, en " +"historie som vil være ganske kjent for fritt marked publikum." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Copyright may be property, but like all property, it is also a form of " +"regulation. It is a regulation that benefits some and harms others. When " +"done right, it benefits creators and harms leeches. When done wrong, it is " +"regulation the powerful use to defeat competitors." +msgstr "" +"Copyright kanskje eiendom, men som all eiendom, det er ogsÃ¥ en form for " +"regulering. Det er en forordning som fordeler noen og skader andre. NÃ¥r det " +"gjøres riktig, det fordeler skaperne og skader leeches. NÃ¥r gjort galt, det " +"er regulering kraftig bruk Ã¥ beseire konkurrenter." + +#. f9. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Jessica Litman, Digital Copyright (Amherst, N.Y.: Prometheus Books, 2001)." +msgstr "" +"Jessica litman, digitale copyright (amherst, n.y.: prometheus bøker, 2001)." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"As I described in chapter 10, despite this feature of copyright as " +"regulation, and subject to important qualifications outlined by Jessica " +"Litman in her book Digital Copyright,<placeholder type=\"footnote\" id=\"0\"/" +"> overall this history of copyright is not bad. As chapter 10 details, when " +"new technologies have come along, Congress has struck a balance to assure " +"that the new is protected from the old. Compulsory, or statutory, licenses " +"have been one part of that strategy. Free use (as in the case of the VCR) " +"has been another." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But that pattern of deference to new technologies has now changed with the " +"rise of the Internet. Rather than striking a balance between the claims of a " +"new technology and the legitimate rights of content creators, both the " +"courts and Congress have imposed legal restrictions that will have the " +"effect of smothering the new to benefit the old." +msgstr "" +"men dette mønsteret av deference til nye teknologier er nÃ¥ endret med " +"veksten av Internett. i stedet for Ã¥ treffe en balanse mellom kravene til en " +"ny teknologi og legitime rettighetene til skapere av innhold, har bÃ¥de " +"domstoler og Kongressen innført juridiske restriksjoner som vil ha effekten " +"av smothering ny for Ã¥ dra nytte av gamle." + +#. f10. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"The only circuit court exception is found in Recording Industry Association " +"of America (RIAA) v. Diamond Multimedia Systems, 180 F. 3d 1072 (9th Cir. " +"1999). There the court of appeals for the Ninth Circuit reasoned that makers " +"of a portable MP3 player were not liable for contributory copyright " +"infringement for a device that is unable to record or redistribute music (a " +"device whose only copying function is to render portable a music file " +"already stored on a user's hard drive). At the district court level, the " +"only exception is found in Metro-Goldwyn-Mayer Studios, Inc. v. Grokster, " +"Ltd., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found the " +"link between the distributor and any given user's conduct too attenuated to " +"make the distributor liable for contributory or vicarious infringement " +"liability." +msgstr "" +"Det eneste unntaket fra circuit court er funnet i innspillingen industry " +"association of america (riaa) v. diamond multimedia systems, 180 f. 3d 1072 " +"(9 cir. 1999). det begrunnet court of appeals for niende circuit at skaperne " +"av en bærbar mp3-spiller ikke var ansvarlig for medvirkende opphavsretten " +"for en enhet som ikke kan registrere eller videredistribuere musikk (en " +"enhet Hvis bare kopiering funksjon er Ã¥ gjengi bærbare en musikkfil som " +"allerede er lagret pÃ¥ brukerens harddisk). pÃ¥ district court-nivÃ¥, er det " +"eneste unntaket funnet i metro-goldwyn-mayer studios, inc. v. grokster, " +"ltd., 259 f. supp. 2d 1029 (Deportivo klientadgangslisens (CAL), 2003), der " +"domstolen fant koblingen mellom distributøren og noen gitt bruker 's " +"gjennomføre for attenuated Ã¥ gjøre distributøren ansvarlig for krenkelse av " +"medvirkende eller stedfortredende erstatningsansvar." + +#. f11. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"For example, in July 2002, Representative Howard Berman introduced the Peer-" +"to-Peer Piracy Prevention Act (H.R. 5211), which would immunize copyright " +"holders from liability for damage done to computers when the copyright " +"holders use technology to stop copyright infringement. In August 2002, " +"Representative Billy Tauzin introduced a bill to mandate that technologies " +"capable of rebroadcasting digital copies of films broadcast on TV (i.e., " +"computers) respect a \"broadcast flag\" that would disable copying of that " +"content. And in March of the same year, Senator Fritz Hollings introduced " +"the Consumer Broadband and Digital Television Promotion Act, which mandated " +"copyright protection technology in all digital media devices. See GartnerG2, " +"\"Copyright and Digital Media in a Post-Napster World,\" 27 June 2003, 33­34, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #44</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The response by the courts has been fairly universal.<placeholder type=" +"\"footnote\" id=\"0\"/> It has been mirrored in the responses threatened and " +"actually implemented by Congress. I won't catalog all of those responses " +"here.<placeholder type=\"footnote\" id=\"1\"/> But there is one example that " +"captures the flavor of them all. This is the story of the demise of Internet " +"radio." +msgstr "" + +#. PAGE BREAK 204 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"As I described in chapter 4, when a radio station plays a song, the " +"recording artist doesn't get paid for that \"radio performance\" unless he " +"or she is also the composer. So, for example if Marilyn Monroe had recorded " +"a version of \"Happy Birthday\"--to memorialize her famous performance " +"before President Kennedy at Madison Square Garden-- then whenever that " +"recording was played on the radio, the current copyright owners of \"Happy " +"Birthday\" would get some money, whereas Marilyn Monroe would not." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The reasoning behind this balance struck by Congress makes some sense. The " +"justification was that radio was a kind of advertising. The recording artist " +"thus benefited because by playing her music, the radio station was making it " +"more likely that her records would be purchased. Thus, the recording artist " +"got something, even if only indirectly. Probably this reasoning had less to " +"do with the result than with the power of radio stations: Their lobbyists " +"were quite good at stopping any efforts to get Congress to require " +"compensation to the recording artists." +msgstr "" +"begrunnelsen bak denne balansen truffet av Kongressen gjør noe fornuftig. " +"Begrunnelsen var at radio var en form for annonsering. Plateartist nytte " +"dermed fordi ved Ã¥ spille musikken hennes, radiostasjonen var Ã¥ gjøre det " +"mer sannsynlig at hennes poster ville være kjøpt. dermed Plateartist fikk " +"noe, selv om bare indirekte. sannsynligvis denne begrunnelsen hadde mindre Ã¥ " +"gjøre med resultatet enn med makten av radiostasjoner: deres lobbyister var " +"ganske god til Ã¥ stoppe enhver innsats for Ã¥ fÃ¥ Kongressen til Ã¥ kreve " +"kompensasjon for artistene." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Enter Internet radio. Like regular radio, Internet radio is a technology to " +"stream content from a broadcaster to a listener. The broadcast travels " +"across the Internet, not across the ether of radio spectrum. Thus, I can " +"\"tune in\" to an Internet radio station in Berlin while sitting in San " +"Francisco, even though there's no way for me to tune in to a regular radio " +"station much beyond the San Francisco metropolitan area." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This feature of the architecture of Internet radio means that there are " +"potentially an unlimited number of radio stations that a user could tune in " +"to using her computer, whereas under the existing architecture for broadcast " +"radio, there is an obvious limit to the number of broadcasters and clear " +"broadcast frequencies. Internet radio could therefore be more competitive " +"than regular radio; it could provide a wider range of selections. And " +"because the potential audience for Internet radio is the whole world, niche " +"stations could easily develop and market their content to a relatively large " +"number of users worldwide. According to some estimates, more than eighty " +"million users worldwide have tuned in to this new form of radio." +msgstr "" +"Denne funksjonen i arkitekturen av Internett-radio betyr at det er " +"potensielt et ubegrenset antall radiostasjoner at en bruker kan stille inn " +"til Ã¥ bruke sin datamaskin, mens under den eksisterende arkitekturen for " +"kringkasting, det er en Ã¥penbar grense for hvor mange broadcasters og fjerne " +"kringkastingsfrekvenser. Internett-radio kan derfor være mer " +"konkurransedyktige enn vanlige radio; den kunne gi et bredere spekter av " +"valgene. og fordi potensielle publikum for Internett-radio er hele verden, " +"nisje-stasjoner kan lett utvikle og markedsføre innholdet til et relativt " +"stort antall brukere over hele verden. Ifølge noen anslag har mer enn Ã¥tti " +"millioner brukere over hele verden stilt inn pÃ¥ denne nye formen for radio." + +#. PAGE BREAK 205 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Internet radio is thus to radio what FM was to AM. It is an improvement " +"potentially vastly more significant than the FM improvement over AM, since " +"not only is the technology better, so, too, is the competition. Indeed, " +"there is a direct parallel between the fight to establish FM radio and the " +"fight to protect Internet radio. As one author describes Howard Armstrong's " +"struggle to enable FM radio," +msgstr "" +"Internett-radio er dermed til radio hva fm var Ã¥ am. Det er en forbedring " +"potensielt vesentlig større betydning enn fm-forbedring over am, siden ikke " +"bare er teknologien bedre, sÃ¥, ogsÃ¥, er konkurransen. faktisk er det en " +"direkte parallell mellom kampen for Ã¥ etablere fm-radio og kampen for Ã¥ " +"beskytte Internett-radio. som en forfatter beskriver howard Armstrongs kamp " +"for Ã¥ aktivere fm-radio," + +#. f12. +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "Lessing, 239." +msgstr "Lessing, 239." + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"An almost unlimited number of FM stations was possible in the shortwaves, " +"thus ending the unnatural restrictions imposed on radio in the crowded " +"longwaves. If FM were freely developed, the number of stations would be " +"limited only by economics and competition rather than by technical " +"restrictions. . . . Armstrong likened the situation that had grown up in " +"radio to that following the invention of the printing press, when " +"governments and ruling interests attempted to control this new instrument of " +"mass communications by imposing restrictive licenses on it. This tyranny was " +"broken only when it became possible for men freely to acquire printing " +"presses and freely to run them. FM in this sense was as great an invention " +"as the printing presses, for it gave radio the opportunity to strike off its " +"shackles.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f13. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "Ibid., 229." +msgstr "ibid., 229." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This potential for FM radio was never realized--not because Armstrong was " +"wrong about the technology, but because he underestimated the power of " +"\"vested interests, habits, customs and legislation\"<placeholder type=" +"\"footnote\" id=\"0\"/> to retard the growth of this competing technology." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Now the very same claim could be made about Internet radio. For again, there " +"is no technical limitation that could restrict the number of Internet radio " +"stations. The only restrictions on Internet radio are those imposed by the " +"law. Copyright law is one such law. So the first question we should ask is, " +"what copyright rules would govern Internet radio?" +msgstr "" +"nÃ¥ kunne samme kravet gjort om Internett-radio. for pÃ¥ nytt finnes det ingen " +"teknisk begrensning som kan begrense hvor mange Internett-radiostasjoner. de " +"eneste begrensningene pÃ¥ Internett-radio som er pÃ¥lagt av loven. lov om " +"opphavsrett er en slik lov. sÃ¥ det første spørsmÃ¥let som vi bør spørre er, " +"hvilke opphavsrett regler ville styre Internett-radio?" + +#. PAGE BREAK 206 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But here the power of the lobbyists is reversed. Internet radio is a new " +"industry. The recording artists, on the other hand, have a very powerful " +"lobby, the RIAA. Thus when Congress considered the phenomenon of Internet " +"radio in 1995, the lobbyists had primed Congress to adopt a different rule " +"for Internet radio than the rule that applies to terrestrial radio. While " +"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when " +"it plays her hypothetical recording of \"Happy Birthday\" on the air, " +"Internet radio does. Not only is the law not neutral toward Internet radio--" +"the law actually burdens Internet radio more than it burdens terrestrial " +"radio." +msgstr "" + +#. f14. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"This example was derived from fees set by the original Copyright Arbitration " +"Royalty Panel (CARP) proceedings, and is drawn from an example offered by " +"Professor William Fisher. Conference Proceedings, iLaw (Stanford), 3 July " +"2003, on file with author. Professors Fisher and Zittrain submitted " +"testimony in the CARP proceeding that was ultimately rejected. See Jonathan " +"Zittrain, Digital Performance Right in Sound Recordings and Ephemeral " +"Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #45</ulink>. For an excellent " +"analysis making a similar point, see Randal C. Picker, \"Copyright as Entry " +"Policy: The Case of Digital Distribution,\" Antitrust Bulletin (Summer/Fall " +"2002): 461: \"This was not confusion, these are just old-fashioned entry " +"barriers. Analog radio stations are protected from digital entrants, " +"reducing entry in radio and diversity. Yes, this is done in the name of " +"getting royalties to copyright holders, but, absent the play of powerful " +"interests, that could have been done in a media-neutral way.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This financial burden is not slight. As Harvard law professor William Fisher " +"estimates, if an Internet radio station distributed adfree popular music to " +"(on average) ten thousand listeners, twenty-four hours a day, the total " +"artist fees that radio station would owe would be over $1 million a year." +"<placeholder type=\"footnote\" id=\"0\"/> A regular radio station " +"broadcasting the same content would pay no equivalent fee." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The burden is not financial only. Under the original rules that were " +"proposed, an Internet radio station (but not a terrestrial radio station) " +"would have to collect the following data from every listening transaction:" +msgstr "" +"byrden er ikke økonomiske bare. under de opprinnelige reglene som ble " +"foreslÃ¥tt, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) " +"ville ha til Ã¥ samle inn følgende data fra hver lytting transaksjon:" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "name of the service;" +msgstr "navnet pÃ¥ tjenesten," + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "channel of the program (AM/FM stations use station ID);" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "type of program (archived/looped/live);" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "date of transmission;" +msgstr "dato for overføring;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "time of transmission;" +msgstr "tidspunktet for overføring;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "time zone of origination of transmission;" +msgstr "tidssonen til opprinnelse av overføring;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"numeric designation of the place of the sound recording within the program;" +msgstr "numeriske angivelsen av i stedet for lydopptak programmet;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "duration of transmission (to nearest second);" +msgstr "varigheten av overføring (til nærmeste sekund):" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "sound recording title;" +msgstr "Lydinnspilling-tittel;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "ISRC code of the recording;" +msgstr "ISRC-koden pÃ¥ opptaket;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"release year of the album per copyright notice and in the case of " +"compilation albums, the release year of the album and copy- right date of " +"the track;" +msgstr "" +"gi Ã¥r av albumet per opphavsrett og nÃ¥r det gjelder samlealbum, utgivelsesÃ¥r " +"av albumet og kopi høyre datoen for spor;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "featured recording artist;" +msgstr "anbefalte Plateartist;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "retail album title;" +msgstr "detaljhandel albumtittel;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "recording label;" +msgstr "plateselskap;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "UPC code of the retail album;" +msgstr "UPC koden for selge i detalj albumet;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "catalog number;" +msgstr "katalognummer;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "copyright owner information;" +msgstr "opphavsrettsinnehaveren informasjon;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "musical genre of the channel or program (station format);" +msgstr "musikksjanger av kanal eller -programmet (stasjon format);" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "name of the service or entity;" +msgstr "navnet pÃ¥ tjenesten eller selskap;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "channel or program;" +msgstr "kanal eller program;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "date and time that the user logged in (in the user's time zone);" +msgstr "datoen og klokkeslettet da brukeren logget pÃ¥ (i brukerens tidssone);" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "date and time that the user logged out (in the user's time zone);" +msgstr "datoen og klokkeslettet da brukeren logget ut (i brukerens tidssone);" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "time zone where the signal was received (user);" +msgstr "tidssone der signalet ble mottatt (bruker);" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "Unique User identifier;" +msgstr "unik bruker identifikator;" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "the country in which the user received the transmissions." +msgstr "landet som brukeren mottok sendinger." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The Librarian of Congress eventually suspended these reporting requirements, " +"pending further study. And he also changed the original rates set by the " +"arbitration panel charged with setting rates. But the basic difference " +"between Internet radio and terrestrial radio remains: Internet radio has to " +"pay a type of copyright fee that terrestrial radio does not." +msgstr "" +"bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, " +"ventende videre studium. og han endret ogsÃ¥ de opprinnelige prisene ved " +"voldgift panelet belastet med angivelse av priser. men den grunnleggende " +"forskjellen mellom Internett-radio og bakkesendte radio gjenstÃ¥r: Internett " +"radio har Ã¥ betale en type opphavsrett gebyr som bakkesendte radio ikke." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Why? What justifies this difference? Was there any study of the economic " +"consequences from Internet radio that would justify these differences? Was " +"the motive to protect artists against piracy?" +msgstr "" +"hvorfor? Hva rettferdiggjør denne forskjellen? var det noen studier av " +"økonomiske konsekvensene fra Internett-radio som ville forsvare disse " +"forskjellene? var motivet Ã¥ beskytte kunstnere mot piratkopiering?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In a rare bit of candor, one RIAA expert admitted what seemed obvious to " +"everyone at the time. As Alex Alben, vice president for Public Policy at " +"Real Networks, told me," +msgstr "" +"i sjeldne litt candor innrømmet én riaa ekspert hva syntes Ã¥penbar for alle " +"samtidig. som alex alben fortalte visepresident for public policy pÃ¥ real " +"networks, meg:" + +#. PAGE BREAK 208 +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"The RIAA, which was representing the record labels, presented some testimony " +"about what they thought a willing buyer would pay to a willing seller, and " +"it was much higher. It was ten times higher than what radio stations pay to " +"perform the same songs for the same period of time. And so the attorneys " +"representing the webcasters asked the RIAA, . . . \"How do you come up with " +"a rate that's so much higher? Why is it worth more than radio? Because here " +"we have hundreds of thousands of webcasters who want to pay, and that should " +"establish the market rate, and if you set the rate so high, you're going to " +"drive the small webcasters out of business. . . .\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"And the RIAA experts said, \"Well, we don't really model this as an industry " +"with thousands of webcasters, we think it should be an industry with, you " +"know, five or seven big players who can pay a high rate and it's a stable, " +"predictable market.\" (Emphasis added.)" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Translation: The aim is to use the law to eliminate competition, so that " +"this platform of potentially immense competition, which would cause the " +"diversity and range of content available to explode, would not cause pain to " +"the dinosaurs of old. There is no one, on either the right or the left, who " +"should endorse this use of the law. And yet there is practically no one, on " +"either the right or the left, who is doing anything effective to prevent it." +msgstr "" +"oversettelse: mÃ¥let er Ã¥ bruke loven til Ã¥ eliminere konkurranse, slik at " +"denne plattformen av potensielt enorme konkurransen, som ville føre til " +"mangfoldet og omfanget av innholdet tilgjengelig til Ã¥ eksplodere, ikke " +"ville forÃ¥rsake smerte til dinosaurs av gamle. Det er ingen, enten til høyre " +"eller venstre, som bør bifaller denne bruken av loven. og ennÃ¥ er det " +"praktisk talt ingen, enten til høyre eller venstre, som gjør noe effektivt " +"for Ã¥ hindre den." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Corrupting Citizens" +msgstr "ødelegge borgere" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Overregulation stifles creativity. It smothers innovation. It gives " +"dinosaurs a veto over the future. It wastes the extraordinary opportunity " +"for a democratic creativity that digital technology enables." +msgstr "" +"overregulation stifles kreativitet. det smothers innovasjon. Det gir " +"dinosaurer vetorett over fremtiden. det avfall ekstraordinær mulighet for en " +"demokratisk kreativitet som digital teknologi gjør det mulig." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In addition to these important harms, there is one more that was important " +"to our forebears, but seems forgotten today. Overregulation corrupts " +"citizens and weakens the rule of law." +msgstr "" +"i tillegg til disse viktige skadene er det en mer som var viktig for vÃ¥re " +"forfedre, men synes glemt i dag. overregulation skader borgere og svekker " +"rettssikkerhet." + +#. f15. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Mike Graziano and Lee Rainie, \"The Music Downloading Deluge,\" Pew Internet " +"and American Life Project (24 April 2001), available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #46</ulink>. The Pew Internet and American " +"Life Project reported that 37 million Americans had downloaded music files " +"from the Internet by early 2001." +msgstr "" + +#. PAGE BREAK 209 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The war that is being waged today is a war of prohibition. As with every war " +"of prohibition, it is targeted against the behavior of a very large number " +"of citizens. According to The New York Times, 43 million Americans " +"downloaded music in May 2002.<placeholder type=\"footnote\" id=\"0\"/> " +"According to the RIAA, the behavior of those 43 million Americans is a " +"felony. We thus have a set of rules that transform 20 percent of America " +"into criminals. As the RIAA launches lawsuits against not only the Napsters " +"and Kazaas of the world, but against students building search engines, and " +"increasingly against ordinary users downloading content, the technologies " +"for sharing will advance to further protect and hide illegal use. It is an " +"arms race or a civil war, with the extremes of one side inviting a more " +"extreme response by the other." +msgstr "" + +#. f16. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" Los " +"Angeles Times, 10 September 2003, Business." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The content industry's tactics exploit the failings of the American legal " +"system. When the RIAA brought suit against Jesse Jordan, it knew that in " +"Jordan it had found a scapegoat, not a defendant. The threat of having to " +"pay either all the money in the world in damages ($15,000,000) or almost all " +"the money in the world to defend against paying all the money in the world " +"in damages ($250,000 in legal fees) led Jordan to choose to pay all the " +"money he had in the world ($12,000) to make the suit go away. The same " +"strategy animates the RIAA's suits against individual users. In September " +"2003, the RIAA sued 261 individuals--including a twelve-year-old girl living " +"in public housing and a seventy-year-old man who had no idea what file " +"sharing was.<placeholder type=\"footnote\" id=\"0\"/> As these scapegoats " +"discovered, it will always cost more to defend against these suits than it " +"would cost to simply settle. (The twelve year old, for example, like Jesse " +"Jordan, paid her life savings of $2,000 to settle the case.) Our law is an " +"awful system for defending rights. It is an embarrassment to our tradition. " +"And the consequence of our law as it is, is that those with the power can " +"use the law to quash any rights they oppose." +msgstr "" + +#. f17. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Jeffrey A. Miron and Jeffrey Zwiebel, \"Alcohol Consumption During " +"Prohibition,\" American Economic Review 81, no. 2 (1991): 242." +msgstr "" + +#. f18. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"National Drug Control Policy: Hearing Before the House Government Reform " +"Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John P. " +"Walters, director of National Drug Control Policy)." +msgstr "" +"nasjonale narkotikapolitikken kontroll: høre før house government reform " +"committee, 108th cong., 1 sess. (5 mars 2003) (setning av john p. walters, " +"direktør for nasjonale narkotikapolitikken kontroll)." + +#. f19. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" " +"Journal of Economic Literature 36 (1998): 818 (survey of compliance " +"literature)." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Wars of prohibition are nothing new in America. This one is just something " +"more extreme than anything we've seen before. We experimented with alcohol " +"prohibition, at a time when the per capita consumption of alcohol was 1.5 " +"gallons per capita per year. The war against drinking initially reduced that " +"consumption to just 30 percent of its preprohibition levels, but by the end " +"of prohibition, consumption was up to 70 percent of the preprohibition " +"level. Americans were drinking just about as much, but now, a vast number " +"were criminals.<placeholder type=\"footnote\" id=\"0\"/> We have launched a " +"war on drugs aimed at reducing the consumption of regulated narcotics that 7 " +"percent (or 16 million) Americans now use.<placeholder type=\"footnote\" id=" +"\"1\"/> That is a drop from the high (so to speak) in 1979 of 14 percent of " +"the population. We regulate automobiles to the point where the vast majority " +"of Americans violate the law every day. We run such a complex tax system " +"that a majority of cash businesses regularly cheat.<placeholder type=" +"\"footnote\" id=\"2\"/> We pride ourselves on our \"free society,\" but an " +"endless array of ordinary behavior is regulated within our society. And as a " +"result, a huge proportion of Americans regularly violate at least some law." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This state of affairs is not without consequence. It is a particularly " +"salient issue for teachers like me, whose job it is to teach law students " +"about the importance of \"ethics.\" As my colleague Charlie Nesson told a " +"class at Stanford, each year law schools admit thousands of students who " +"have illegally downloaded music, illegally consumed alcohol and sometimes " +"drugs, illegally worked without paying taxes, illegally driven cars. These " +"are kids for whom behaving illegally is increasingly the norm. And then we, " +"as law professors, are supposed to teach them how to behave ethically--how " +"to say no to bribes, or keep client funds separate, or honor a demand to " +"disclose a document that will mean that your case is over. Generations of " +"Americans--more significantly in some parts of America than in others, but " +"still, everywhere in America today--can't live their lives both normally and " +"legally, since \"normally\" entails a certain degree of illegality." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The response to this general illegality is either to enforce the law more " +"severely or to change the law. We, as a society, have to learn how to make " +"that choice more rationally. Whether a law makes sense depends, in part, at " +"least, upon whether the costs of the law, both intended and collateral, " +"outweigh the benefits. If the costs, intended and collateral, do outweigh " +"the benefits, then the law ought to be changed. Alternatively, if the costs " +"of the existing system are much greater than the costs of an alternative, " +"then we have a good reason to consider the alternative." +msgstr "" +"response til denne generelle illegality er Ã¥ hÃ¥ndheve loven mer alvorlig " +"eller endre loven. Vi har som et samfunn Ã¥ lære hvordan du gjør mer " +"rasjonelt. om en lov er fornuftig avhenger, delvis i det minste om " +"kostnadene ved loven, bÃ¥de tiltenkte og sikkerhetsstillelse, oppveier " +"fordelene. Hvis kostnader, ment og sikkerhetsstillelse, oppveier fordelene, " +"burde loven endres. Alternativt, hvis kostnadene for eksisterende systemet " +"er mye større enn kostnadene for et alternativ, vi har en god grunn til Ã¥ " +"vurdere alternativet." + +#. PAGE BREAK 211 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"My point is not the idiotic one: Just because people violate a law, we " +"should therefore repeal it. Obviously, we could reduce murder statistics " +"dramatically by legalizing murder on Wednesdays and Fridays. But that " +"wouldn't make any sense, since murder is wrong every day of the week. A " +"society is right to ban murder always and everywhere." +msgstr "" +"Mitt poeng er ikke den idiotisk: bare fordi folk bryter en lov, vi bør " +"derfor oppheve den. Vi kan selvfølgelig redusere mord statistikk dramatisk " +"ved legalizing drap for pÃ¥ onsdager og fredager. men det ville ikke gi noen " +"mening, siden drap er galt hver dag i uken. et samfunn er rett Ã¥ utestenge " +"drap alltid og overalt." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"My point is instead one that democracies understood for generations, but " +"that we recently have learned to forget. The rule of law depends upon people " +"obeying the law. The more often, and more repeatedly, we as citizens " +"experience violating the law, the less we respect the law. Obviously, in " +"most cases, the important issue is the law, not respect for the law. I don't " +"care whether the rapist respects the law or not; I want to catch and " +"incarcerate the rapist. But I do care whether my students respect the law. " +"And I do care if the rules of law sow increasing disrespect because of the " +"extreme of regulation they impose. Twenty million Americans have come of " +"age since the Internet introduced this different idea of \"sharing.\" We " +"need to be able to call these twenty million Americans \"citizens,\" not " +"\"felons.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"When at least forty-three million citizens download content from the " +"Internet, and when they use tools to combine that content in ways " +"unauthorized by copyright holders, the first question we should be asking is " +"not how best to involve the FBI. The first question should be whether this " +"particular prohibition is really necessary in order to achieve the proper " +"ends that copyright law serves. Is there another way to assure that artists " +"get paid without transforming forty-three million Americans into felons? " +"Does it make sense if there are other ways to assure that artists get paid " +"without transforming America into a nation of felons?" +msgstr "" +"NÃ¥r minst førti - tre millioner innbyggere dataoverføre innhold fra " +"Internett, og nÃ¥r de bruker verktøy til Ã¥ kombinere at innhold pÃ¥ mÃ¥ter " +"uautorisert ved innehaver av opphavsrett, det første spørsmÃ¥let som vi bør " +"spørre ikke er hvordan man best kan innebære fbi. det første spørsmÃ¥let bør " +"være om dette bestemte forbudet er virkelig nødvendig for Ã¥ oppnÃ¥ riktig " +"ender som serverer lov om opphavsrett. er det en annen mÃ¥te Ã¥ forsikre at " +"artister fÃ¥r betalt uten Ã¥ transformere førti - tre millioner amerikanere i " +"felons? betyr det fornuftig hvis det finnes andre mÃ¥ter Ã¥ sikre at artister " +"fÃ¥r betalt uten Ã¥ transformere Amerika til en nasjon av felons?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "This abstract point can be made more clear with a particular example." +msgstr "Denne abstrakte punkt kan gjøres mer tydelig med en bestemt eksempel." + +#. PAGE BREAK 212 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"We all own CDs. Many of us still own phonograph records. These pieces of " +"plastic encode music that in a certain sense we have bought. The law " +"protects our right to buy and sell that plastic: It is not a copyright " +"infringement for me to sell all my classical records at a used record store " +"and buy jazz records to replace them. That \"use\" of the recordings is free." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But as the MP3 craze has demonstrated, there is another use of phonograph " +"records that is effectively free. Because these recordings were made without " +"copy-protection technologies, I am \"free\" to copy, or \"rip,\" music from " +"my records onto a computer hard disk. Indeed, Apple Corporation went so far " +"as to suggest that \"freedom\" was a right: In a series of commercials, " +"Apple endorsed the \"Rip, Mix, Burn\" capacities of digital technologies." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This \"use\" of my records is certainly valuable. I have begun a large " +"process at home of ripping all of my and my wife's CDs, and storing them in " +"one archive. Then, using Apple's iTunes, or a wonderful program called " +"Andromeda, we can build different play lists of our music: Bach, Baroque, " +"Love Songs, Love Songs of Significant Others--the potential is endless. And " +"by reducing the costs of mixing play lists, these technologies help build a " +"creativity with play lists that is itself independently valuable. " +"Compilations of songs are creative and meaningful in their own right." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This use is enabled by unprotected media--either CDs or records. But " +"unprotected media also enable file sharing. File sharing threatens (or so " +"the content industry believes) the ability of creators to earn a fair return " +"from their creativity. And thus, many are beginning to experiment with " +"technologies to eliminate unprotected media. These technologies, for " +"example, would enable CDs that could not be ripped. Or they might enable spy " +"programs to identify ripped content on people's machines." +msgstr "" +"denne bruken er aktivert av ubeskyttet media--CDer eller poster. men " +"ubeskyttet media ogsÃ¥ aktivere fildeling. fildeling truer (eller sÃ¥ innhold " +"industrien mener) evne til skaperne Ã¥ tjene en god avkastning fra sin " +"kreativitet. og dermed mange begynner Ã¥ eksperimentere med teknologier for Ã¥ " +"eliminere ubeskyttet media. disse teknologiene, for eksempel ville aktivere " +"CDer som ikke blir rippet. eller de kan aktivere spion programmer Ã¥ " +"identifisere rippede innhold pÃ¥ folks maskiner." + +#. PAGE BREAK 213 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"If these technologies took off, then the building of large archives of your " +"own music would become quite difficult. You might hang in hacker circles, " +"and get technology to disable the technologies that protect the content. " +"Trading in those technologies is illegal, but maybe that doesn't bother you " +"much. In any case, for the vast majority of people, these protection " +"technologies would effectively destroy the archiving use of CDs. The " +"technology, in other words, would force us all back to the world where we " +"either listened to music by manipulating pieces of plastic or were part of a " +"massively complex \"digital rights management\" system." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"If the only way to assure that artists get paid were the elimination of the " +"ability to freely move content, then these technologies to interfere with " +"the freedom to move content would be justifiable. But what if there were " +"another way to assure that artists are paid, without locking down any " +"content? What if, in other words, a different system could assure " +"compensation to artists while also preserving the freedom to move content " +"easily?" +msgstr "" +"Hvis den eneste mÃ¥ten Ã¥ sikre at artister fÃ¥r betalt var eliminering av " +"muligheten til Ã¥ fritt flytte innhold, ville sÃ¥ disse teknologiene Ã¥ " +"forstyrre bevege innhold være forsvarlig. men hva hvis det var en annen mÃ¥te " +"Ã¥ forsikre at kunstnere er betalt, uten Ã¥ lÃ¥se ned innhold? Hva om, med " +"andre ord, et annet system kan forsikre kompensasjon til kunstnere samtidig " +"som du beholder ogsÃ¥ bevege innhold lett?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"My point just now is not to prove that there is such a system. I offer a " +"version of such a system in the last chapter of this book. For now, the only " +"point is the relatively uncontroversial one: If a different system achieved " +"the same legitimate objectives that the existing copyright system achieved, " +"but left consumers and creators much more free, then we'd have a very good " +"reason to pursue this alternative--namely, freedom. The choice, in other " +"words, would not be between property and piracy; the choice would be between " +"different property systems and the freedoms each allowed." +msgstr "" +"Mitt poeng er akkurat nÃ¥ ikke for Ã¥ bevise at det er et slikt system. Jeg " +"tilbyr en versjon av slikt system i det siste kapitlet av denne boken. for " +"nÃ¥, det eneste punktet er den relativt ukontroversiell: Hvis et annet system " +"oppnÃ¥dd mÃ¥lene er samme legitime som eksisterende opphavsretten til systemet " +"oppnÃ¥dd, men forlot forbrukere og skaperne mye mer gratis, sÃ¥ vi ville ha en " +"svært god grunn til Ã¥ forfølge denne alternative--nemlig frihet. valg, med " +"andre ord, ville ikke være mellom eiendom og piratkopiering; valget ville " +"være mellom forskjellige eiendom systemer og frihetene hver tillatt." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I believe there is a way to assure that artists are paid without turning " +"forty-three million Americans into felons. But the salient feature of this " +"alternative is that it would lead to a very different market for producing " +"and distributing creativity. The dominant few, who today control the vast " +"majority of the distribution of content in the world, would no longer " +"exercise this extreme of control. Rather, they would go the way of the horse-" +"drawn buggy." +msgstr "" +"Jeg tror det er en mÃ¥te Ã¥ sikre at kunstnere er betalt uten Ã¥ slÃ¥ førti - " +"tre millioner amerikanere i felons. men funksjonen fremspringende i denne " +"alternativ er at det ville føre til en svært forskjellige markedet for " +"produksjon og distribusjon av kreativitet. de dominerende fÃ¥, som i dag " +"kontrollerer det store flertallet av distribusjon av innhold i verden, ville " +"ikke lenger utøve denne ekstreme av kontroll. de ville heller gÃ¥ veien for " +"hest trukket buggy." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Except that this generation's buggy manufacturers have already saddled " +"Congress, and are riding the law to protect themselves against this new form " +"of competition. For them the choice is between fortythree million Americans " +"as criminals and their own survival." +msgstr "" +"bortsett fra at denne generasjon vognen produsenter har allerede saddled " +"Kongressen, og sykle loven for Ã¥ beskytte seg mot denne nye formen for " +"konkurranse. for dem er valget mellom fortythree millioner amerikanere som " +"kriminelle og deres egen overlevelse." + +#. PAGE BREAK 214 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"It is understandable why they choose as they do. It is not understandable " +"why we as a democracy continue to choose as we do. Jack Valenti is charming; " +"but not so charming as to justify giving up a tradition as deep and " +"important as our tradition of free culture. There's one more aspect to this " +"corruption that is particularly important to civil liberties, and follows " +"directly from any war of prohibition. As Electronic Frontier Foundation " +"attorney Fred von Lohmann describes, this is the \"collateral damage\" that " +"\"arises whenever you turn a very large percentage of the population into " +"criminals.\" This is the collateral damage to civil liberties generally." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"\"If you can treat someone as a putative lawbreaker,\" von Lohmann explains," +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"then all of a sudden a lot of basic civil liberty protections evaporate to " +"one degree or another. . . . If you're a copyright infringer, how can you " +"hope to have any privacy rights? If you're a copyright infringer, how can " +"you hope to be secure against seizures of your computer? How can you hope to " +"continue to receive Internet access? . . . Our sensibilities change as soon " +"as we think, \"Oh, well, but that person's a criminal, a lawbreaker.\" Well, " +"what this campaign against file sharing has done is turn a remarkable " +"percentage of the American Internet-using population into \"lawbreakers.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"And the consequence of this transformation of the American public into " +"criminals is that it becomes trivial, as a matter of due process, to " +"effectively erase much of the privacy most would presume." +msgstr "" +"og konsekvens av denne transformasjonen av den amerikanske offentligheten " +"til kriminelle er at den blir triviell, som et spørsmÃ¥l om grunn prosessen " +"til Ã¥ effektivt viske ut mye av personvernet mest ville anta." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Users of the Internet began to see this generally in 2003 as the RIAA " +"launched its campaign to force Internet service providers to turn over the " +"names of customers who the RIAA believed were violating copyright law. " +"Verizon fought that demand and lost. With a simple request to a judge, and " +"without any notice to the customer at all, the identity of an Internet user " +"is revealed." +msgstr "" +"brukere av Internett begynte Ã¥ se dette vanligvis i 2003 som riaa lanserte " +"sin kampanje for Ã¥ tvinge nettleverandører til Ã¥ snu navnene pÃ¥ kundene som " +"riaa trodde var bryter loven om opphavsrett. Verizon kjempet som krever, og " +"tapte. med en enkel forespørsel til en dommer, og uten varsel til kunden i " +"det hele tatt, er identiteten til en Internett-bruker avslørt." + +#. f20. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in " +"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" Washington Post, 10 " +"September 2003, E1; Chris Cobbs, \"Worried Parents Pull Plug on File " +"`Stealing'; With the Music Industry Cracking Down on File Swapping, Parents " +"are Yanking Software from Home PCs to Avoid Being Sued,\" Orlando Sentinel " +"Tribune, 30 August 2003, C1; Jefferson Graham, \"Recording Industry Sues " +"Parents,\" USA Today, 15 September 2003, 4D; John Schwartz, \"She Says She's " +"No Music Pirate. No Snoop Fan, Either,\" New York Times, 25 September 2003, " +"C1; Margo Varadi, \"Is Brianna a Criminal?\" Toronto Star, 18 September " +"2003, P7." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The RIAA then expanded this campaign, by announcing a general strategy to " +"sue individual users of the Internet who are alleged to have downloaded " +"copyrighted music from file-sharing systems. But as we've seen, the " +"potential damages from these suits are astronomical: If a family's computer " +"is used to download a single CD's worth of music, the family could be liable " +"for $2 million in damages. That didn't stop the RIAA from suing a number of " +"these families, just as they had sued Jesse Jordan.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. f21. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See \"Revealed: How RIAA Tracks Downloaders: Music Industry Discloses Some " +"Methods Used,\" CNN.com, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #47</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Even this understates the espionage that is being waged by the RIAA. A " +"report from CNN late last summer described a strategy the RIAA had adopted " +"to track Napster users.<placeholder type=\"footnote\" id=\"0\"/> Using a " +"sophisticated hashing algorithm, the RIAA took what is in effect a " +"fingerprint of every song in the Napster catalog. Any copy of one of those " +"MP3s will have the same \"fingerprint.\"" +msgstr "" + +#. f22. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" Boston " +"Globe, 18 May 2003, City Weekly, 1; Frank Ahrens, \"Four Students Sued over " +"Music Sites; Industry Group Targets File Sharing at Colleges,\" Washington " +"Post, 4 April 2003, E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at " +"Their Own Risk,\" Christian Science Monitor, 2 September 2003, 20; Robert " +"Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two Students " +"Names Are Handed Over; Lawsuit Possible,\" Chicago Tribune, 16 July 2003, " +"1C; Beth Cox, \"RIAA Trains Antipiracy Guns on Universities,\" Internet " +"News, 30 January 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #48</ulink>; Benny Evangelista, \"Download Warning 101: " +"Freshman Orientation This Fall to Include Record Industry Warnings Against " +"File Sharing,\" San Francisco Chronicle, 11 August 2003, E11; \"Raid, " +"Letters Are Weapons at Universities,\" USA Today, 26 September 2000, 3D." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"So imagine the following not-implausible scenario: Imagine a friend gives a " +"CD to your daughter--a collection of songs just like the cassettes you used " +"to make as a kid. You don't know, and neither does your daughter, where " +"these songs came from. But she copies these songs onto her computer. She " +"then takes her computer to college and connects it to a college network, and " +"if the college network is \"cooperating\" with the RIAA's espionage, and she " +"hasn't properly protected her content from the network (do you know how to " +"do that yourself ?), then the RIAA will be able to identify your daughter as " +"a \"criminal.\" And under the rules that universities are beginning to " +"deploy,<placeholder type=\"footnote\" id=\"0\"/> your daughter can lose the " +"right to use the university's computer network. She can, in some cases, be " +"expelled." +msgstr "" + +#. PAGE BREAK 216 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Now, of course, she'll have the right to defend herself. You can hire a " +"lawyer for her (at $300 per hour, if you're lucky), and she can plead that " +"she didn't know anything about the source of the songs or that they came " +"from Napster. And it may well be that the university believes her. But the " +"university might not believe her. It might treat this \"contraband\" as " +"presumptive of guilt. And as any number of college students have already " +"learned, our presumptions about innocence disappear in the middle of wars of " +"prohibition. This war is no different. Says von Lohmann," +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"So when we're talking about numbers like forty to sixty million Americans " +"that are essentially copyright infringers, you create a situation where the " +"civil liberties of those people are very much in peril in a general matter. " +"[I don't] think [there is any] analog where you could randomly choose any " +"person off the street and be confident that they were committing an unlawful " +"act that could put them on the hook for potential felony liability or " +"hundreds of millions of dollars of civil liability. Certainly we all speed, " +"but speeding isn't the kind of an act for which we routinely forfeit civil " +"liberties. Some people use drugs, and I think that's the closest analog, " +"[but] many have noted that the war against drugs has eroded all of our civil " +"liberties because it's treated so many Americans as criminals. Well, I think " +"it's fair to say that file sharing is an order of magnitude larger number of " +"Americans than drug use. . . . If forty to sixty million Americans have " +"become lawbreakers, then we're really on a slippery slope to lose a lot of " +"civil liberties for all forty to sixty million of them." +msgstr "" +"sÃ¥ nÃ¥r vi snakker om tall som førti til seksti millioner amerikanere som er " +"egentlig opphavsrett varemerkerettigheter, oppretter du en situasjon der " +"borgerrettigheter av dem er svært mye i fare i en generell sak. [jeg ikke] " +"[det er noen] analog hvor du kunne tilfeldig velge en person av gaten og " +"være trygg pÃ¥ at de var begÃ¥ en ulovlig handling som kan sette dem pÃ¥ kroken " +"for potensielle forbrytelse erstatningsansvar eller hundrevis av millioner " +"av dollar til sivilrettslig ansvar. sikkert vi alle hastighet, men fart er " +"ikke typen en handling som vi miste rutinemessig borgerrettigheter. noen " +"mennesker bruker narkotika, og jeg tror det er den nærmeste analoge, [men] " +"mange har bemerket at krigen mot narkotika har eroded alle vÃ¥re " +"borgerrettigheter fordi det har behandlet sÃ¥ mange amerikanere som " +"kriminelle. Vel, jeg tror det er rimelig Ã¥ si at fildeling er en bestilling " +"av omfanget større antall amerikanere enn narkotikabruk.... Hvis førti til " +"seksti millioner amerikanere har blitt lawbreakers, da er vi virkelig pÃ¥ en " +"glatt skrÃ¥ning Ã¥ miste mye av borgerrettigheter for alle førti til seksti " +"millioner av dem." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"When forty to sixty million Americans are considered \"criminals\" under the " +"law, and when the law could achieve the same objective-- securing rights to " +"authors--without these millions being considered \"criminals,\" who is the " +"villain? Americans or the law? Which is American, a constant war on our own " +"people or a concerted effort through our democracy to change our law?" +msgstr "" + +#. type: Content of: <book><chapter><title> +msgid "BALANCES" +msgstr "saldoer" + +#. type: Content of: <book><chapter><para> +msgid "" +"So here's the picture: You're standing at the side of the road. Your car is " +"on fire. You are angry and upset because in part you helped start the fire. " +"Now you don't know how to put it out. Next to you is a bucket, filled with " +"gasoline. Obviously, gasoline won't put the fire out." +msgstr "" +"sÃ¥ her er bildet: du stÃ¥r pÃ¥ siden av veien. bilen er pÃ¥ brann. du er sint " +"og lei fordi delvis du hjalp starte til brann. nÃ¥ vet du hvordan du setter " +"det. siden du er en bøtte, fylt med bensin. Ã¥penbart, bensin vil ikke sette " +"brann ut." + +#. type: Content of: <book><chapter><para> +msgid "" +"As you ponder the mess, someone else comes along. In a panic, she grabs the " +"bucket. Before you have a chance to tell her to stop--or before she " +"understands just why she should stop--the bucket is in the air. The " +"gasoline is about to hit the blazing car. And the fire that gasoline will " +"ignite is about to ignite everything around." +msgstr "" +"som du tenke rotet, kommer noen andre. i en panikk griper hun bøtte. før du " +"har en sjanse til Ã¥ fortelle henne til Ã¥ slutte-- eller før hun forstÃ¥r bare " +"hvorfor hun bør stoppe--bøtte er i luften. til bensin er om Ã¥ treffe Lynrask " +"bilen. og brann som bensin vil antennes er om Ã¥ antennes alt rundt." + +#. type: Content of: <book><chapter><para> +msgid "" +"A war about copyright rages all around--and we're all focusing on the wrong " +"thing. No doubt, current technologies threaten existing businesses. No " +"doubt they may threaten artists. But technologies change. The industry and " +"technologists have plenty of ways to use technology to protect themselves " +"against the current threats of the Internet. This is a fire that if let " +"alone would burn itself out." +msgstr "" +"en krig om opphavsrett rages rundt-- og vi alle fokuserer pÃ¥ feil. ingen " +"tvil, truer aktuell teknologi eksisterende virksomheter. de kan uten tvil " +"True kunstnere. men teknologier endre. næringen og Teknologorganisasjon har " +"masse av veier Ã¥ bruke teknologi for Ã¥ beskytte seg mot gjeldende trusler pÃ¥ " +"Internett. Dette er en brann at hvis enn si ville brenne seg." + +#. PAGE BREAK 219 +#. type: Content of: <book><chapter><para> +msgid "" +"Yet policy makers are not willing to leave this fire to itself. Primed with " +"plenty of lobbyists' money, they are keen to intervene to eliminate the " +"problem they perceive. But the problem they perceive is not the real threat " +"this culture faces. For while we watch this small fire in the corner, there " +"is a massive change in the way culture is made that is happening all around." +msgstr "" +"beslutningstakere er ennÃ¥ ikke villige til Ã¥ forlate denne brann til seg " +"selv. primed med masse lobbyister penger, er de opptatt av Ã¥ intervenere for " +"Ã¥ eliminere problemet de oppfatter. men problemet de oppfatter er ikke den " +"virkelige trusselen denne kulturen stÃ¥r overfor. for mens vi se denne liten " +"brann i hjørnet, det er massiv gjøres en endring i mÃ¥ten kultur som skjer " +"rundt." + +#. type: Content of: <book><chapter><para> +msgid "" +"Somehow we have to find a way to turn attention to this more important and " +"fundamental issue. Somehow we have to find a way to avoid pouring gasoline " +"onto this fire." +msgstr "" +"noe har vi Ã¥ finne en mÃ¥te Ã¥ slÃ¥ oppmerksomhet til dette mer viktig og " +"grunnleggende problemet. noe har vi Ã¥ finne en mÃ¥te Ã¥ unngÃ¥ pouring bensin " +"bort pÃ¥ denne brann." + +#. type: Content of: <book><chapter><para> +msgid "" +"We have not found that way yet. Instead, we seem trapped in a simpler, " +"binary view. However much many people push to frame this debate more " +"broadly, it is the simple, binary view that remains. We rubberneck to look " +"at the fire when we should be keeping our eyes on the road." +msgstr "" +"Vi har ikke funnet den mÃ¥ten ennÃ¥. i stedet synes vi fanget i en enklere, " +"binære visning. men mye mange folk skyve for Ã¥ ramme denne debatten mer " +"forstand, det er den enkle, binære visningen som gjenstÃ¥r. Vi rubberneck for " +"Ã¥ se pÃ¥ ilden nÃ¥r vi skal holde vÃ¥re øyne pÃ¥ veien." + +#. type: Content of: <book><chapter><para> +msgid "" +"This challenge has been my life these last few years. It has also been my " +"failure. In the two chapters that follow, I describe one small brace of " +"efforts, so far failed, to find a way to refocus this debate. We must " +"understand these failures if we're to understand what success will require." +msgstr "" +"denne utfordringen har vært livet disse siste Ã¥rene. Det har ogsÃ¥ vært min " +"feil. i to kapitlene som følger, beskriver jeg en liten klammeparentes av " +"innsats, sÃ¥ langt ikke klart, Ã¥ finne en mÃ¥te Ã¥ refokusere denne debatten. " +"Hvis vi Ã¥ forstÃ¥ hva suksess vil kreve, mÃ¥ vi forstÃ¥ disse feil." + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER THIRTEEN: Eldred" +msgstr "Kapittel tretten: eldred" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In 1995, a father was frustrated that his daughters didn't seem to like " +"Hawthorne. No doubt there was more than one such father, but at least one " +"did something about it. Eric Eldred, a retired computer programmer living in " +"New Hampshire, decided to put Hawthorne on the Web. An electronic version, " +"Eldred thought, with links to pictures and explanatory text, would make this " +"nineteenth-century author's work come alive." +msgstr "" +"i 1995 var en far frustrert at hans døtre ikke synes Ã¥ ha hawthorne. uten " +"tvil var det flere slike far, men minst én gjorde noe med det. Eric eldred, " +"en pensjonert datamaskinen programmerer bor i new hampshire, besluttet Ã¥ " +"sette hawthorne pÃ¥ nettet. en elektronisk versjon eldred trodde, med " +"koblinger til bilder og forklarende tekst, ville gjøre av 1800-tallet " +"forfatterens arbeid blir levende." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It didn't work--at least for his daughters. They didn't find Hawthorne any " +"more interesting than before. But Eldred's experiment gave birth to a hobby, " +"and his hobby begat a cause: Eldred would build a library of public domain " +"works by scanning these works and making them available for free." +msgstr "" +"den gjorde ikke arbeide--minst for hans døtre. de finner ikke hawthorne noe " +"mer interessant enn før. men eldred's eksperimentet fødte en hobby og hans " +"hobby fikk en Ã¥rsak: eldred ville bygge et bibliotek med bøker ved skanning " +"disse verkene og gjøre dem tilgjengelig gratis." + +#. PAGE BREAK 221 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Eldred's library was not simply a copy of certain public domain works, " +"though even a copy would have been of great value to people across the world " +"who can't get access to printed versions of these works. Instead, Eldred was " +"producing derivative works from these public domain works. Just as Disney " +"turned Grimm into stories more accessible to the twentieth century, Eldred " +"transformed Hawthorne, and many others, into a form more accessible--" +"technically accessible--today." +msgstr "" +"eldred's biblioteket var ikke bare en kopi av visse bøker, men ville ha vært " +"enda en kopi av stor verdi til folk over hele verden som ikke kan fÃ¥ tilgang " +"til trykte versjoner av disse verkene. eldred var i stedet brukes til Ã¥ " +"produsere avledede produkter fra disse offentlige verker. akkurat som disney " +"omgjort grimm til historier mer tilgjengelig for det tjuende Ã¥rhundre, " +"eldred transformert hawthorne, og mange andre, til et skjema som er mer " +"tilgjengelig--teknisk tilgjengelig--i dag." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Eldred's freedom to do this with Hawthorne's work grew from the same source " +"as Disney's. Hawthorne's Scarlet Letter had passed into the public domain in " +"1907. It was free for anyone to take without the permission of the Hawthorne " +"estate or anyone else. Some, such as Dover Press and Penguin Classics, take " +"works from the public domain and produce printed editions, which they sell " +"in bookstores across the country. Others, such as Disney, take these stories " +"and turn them into animated cartoons, sometimes successfully (Cinderella), " +"sometimes not (The Hunchback of Notre Dame, Treasure Planet). These are all " +"commercial publications of public domain works." +msgstr "" +"eldred's frihet til 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 " +"sfæren, i 1907. Det var gratis for alle Ã¥ ta uten tillatelse fra den " +"hawthorne eiendommen eller noen andre. noen, for eksempel dover trykk og " +"penguin klassikere, ta works fra public domain og produsere trykte utgavene, " +"som de selger i bokhandler over hele landet. andre, for eksempel disney, ta " +"disse historiene og slÃ¥ dem i animerte-tegneserier, noen ganger lykkes " +"(cinderella), noen ganger ikke (hunchback i notre dame, skatt planeten). " +"disse er alle kommersielle publikasjoner av offentlige verker." + +#. f1. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"There's a parallel here with pornography that is a bit hard to describe, but " +"it's a strong one. One phenomenon that the Internet created was a world of " +"noncommercial pornographers--people who were distributing porn but were not " +"making money directly or indirectly from that distribution. Such a class " +"didn't exist before the Internet came into being because the costs of " +"distributing porn were so high. Yet this new class of distributors got " +"special attention in the Supreme Court, when the Court struck down the " +"Communications Decency Act of 1996. It was partly because of the burden on " +"noncommercial speakers that the statute was found to exceed Congress's " +"power. The same point could have been made about noncommercial publishers " +"after the advent of the Internet. The Eric Eldreds of the world before the " +"Internet were extremely few. Yet one would think it at least as important to " +"protect the Eldreds of the world as to protect noncommercial pornographers." +msgstr "" +"Det er en parallell her med pornografi som er litt vanskelig Ã¥ beskrive, men " +"det er en sterk en. ett fenomen som Internett opprettet var en verden av " +"ikke-kommersiell pornographers--personer som var distribuere porno, men var " +"ikke Ã¥ gjøre penger direkte eller indirekte fra at distribusjonen. slike en " +"klasse eksisterte ikke før Internett kom til Ã¥ være fordi kostnadene ved Ã¥ " +"distribuere porno var sÃ¥ høy. ennÃ¥ fikk dette ny klasse med distributører " +"spesiell oppmerksomhet i Høyesterett, nÃ¥r domstolen slÃ¥tt ned kommunikasjon " +"sømmelighet act of 1996. Det var delvis pÃ¥ grunn av byrden pÃ¥ ikke-" +"kommersiell høyttalere som Vedtektene ble funnet for Ã¥ overgÃ¥ Kongressens " +"makt. samme punkt kunne vært gjort om ikke-kommersiell utgivere etter advent " +"av Internett. eric eldreds av verden før Internett var svært fÃ¥. ennÃ¥ skulle " +"en tro det minst like viktig Ã¥ beskytte eldreds av verden som beskytter ikke-" +"kommersiell pornographers." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Internet created the possibility of noncommercial publications of public " +"domain works. Eldred's is just one example. There are literally thousands of " +"others. Hundreds of thousands from across the world have discovered this " +"platform of expression and now use it to share works that are, by law, free " +"for the taking. This has produced what we might call the \"noncommercial " +"publishing industry,\" which before the Internet was limited to people with " +"large egos or with political or social causes. But with the Internet, it " +"includes a wide range of individuals and groups dedicated to spreading " +"culture generally.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection " +"of poems New Hampshire was slated to pass into the public domain. Eldred " +"wanted to post that collection in his free public library. But Congress got " +"in the way. As I described in chapter 10, in 1998, for the eleventh time in " +"forty years, Congress extended the terms of existing copyrights--this time " +"by twenty years. Eldred would not be free to add any works more recent than " +"1923 to his collection until 2019. Indeed, no copyrighted work would pass " +"into the public domain until that year (and not even then, if Congress " +"extends the term again). By contrast, in the same period, more than 1 " +"million patents will pass into the public domain." +msgstr "" +"som jeg sa, bor eldred i new hampshire. i 1998, var robert frost samling av " +"dikt i new hampshire slated skjedde i public domain. Eldred ønsket Ã¥ legge " +"samlingen i hans gratis offentlig bibliotek. men landsmøtet fÃ¥tt i veien. " +"som jeg beskrevet i kapittel 10, i 1998, for ellevte gang i førti Ã¥r, " +"utvidet Kongressen vilkÃ¥rene i eksisterende opphavsrettigheter--denne tiden " +"av tjue Ã¥r. Eldred ville ikke være fri til Ã¥ legge til et hvilket som helst " +"works som er nyere enn 1923 i sin samling 2020. Faktisk ville ingen " +"opphavsrettsbeskyttede passere i public domain til samme Ã¥r (og ikke engang " +"deretter, hvis Kongressen utvider sikt igjen). derimot i samme periode, vil " +"mer enn 1 million patenter passere i public domain." + +#. f2. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"The full text is: \"Sonny [Bono] wanted the term of copyright protection to " +"last forever. I am informed by staff that such a change would violate the " +"Constitution. I invite all of you to work with me to strengthen our " +"copyright laws in all of the ways available to us. As you know, there is " +"also Jack Valenti's proposal for a term to last forever less one day. " +"Perhaps the Committee may look at that next Congress,\" 144 Cong. Rec. " +"H9946, 9951-2 (October 7, 1998)." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This was the Sonny Bono Copyright Term Extension Act (CTEA), enacted in " +"memory of the congressman and former musician Sonny Bono, who, his widow, " +"Mary Bono, says, believed that \"copyrights should be forever.\"<placeholder " +"type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Eldred decided to fight this law. He first resolved to fight it through " +"civil disobedience. In a series of interviews, Eldred announced that he " +"would publish as planned, CTEA notwithstanding. But because of a second law " +"passed in 1998, the NET (No Electronic Theft) Act, his act of publishing " +"would make Eldred a felon--whether or not anyone complained. This was a " +"dangerous strategy for a disabled programmer to undertake." +msgstr "" +"Eldred besluttet Ã¥ kjempe denne loven. han først løst Ã¥ bekjempe den gjennom " +"sivil ulydighet. i en rekke intervjuer kunngjort eldred at han vil publisere " +"som planlagt, ctea til tross for. men pÃ¥ grunn av en andre lov vedtatt i " +"1998, net (ingen elektronisk tyveri)-act hans handling av publisering ville " +"gjøre eldred en forbryter--om noen klaget. Dette var en farlig strategi for " +"en deaktivert programmerer Ã¥ gjennomføre." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It was here that I became involved in Eldred's battle. I was a " +"constitutional scholar whose first passion was constitutional " +"interpretation. And though constitutional law courses never focus upon the " +"Progress Clause of the Constitution, it had always struck me as importantly " +"different. As you know, the Constitution says," +msgstr "" +"Det var her at jeg ble involvert i slaget ved eldred's. Jeg var en " +"konstitusjonelle lærd der første lidenskap var konstitusjonelle tolkning. og " +"selv om konstitusjonell rett kurs aldri fokus pÃ¥ setningsdelen fremdriften " +"av Grunnloven, hadde det alltid slo meg som viktigere forskjellige. som du " +"vet, Grunnloven sier," + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"Congress has the power to promote the Progress of Science . . . by securing " +"for limited Times to Authors . . . exclusive Right to their . . . " +"Writings. . . ." +msgstr "" +"Kongressen har makt til Ã¥ fremme utviklingen av vitenskap... ved Ã¥ sikre for " +"begrenset ganger til forfattere... eksklusive rett til deres... skrifter...." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As I've described, this clause is unique within the power-granting clause of " +"Article I, section 8 of our Constitution. Every other clause granting power " +"to Congress simply says Congress has the power to do something--for example, " +"to regulate \"commerce among the several states\" or \"declare War.\" But " +"here, the \"something\" is something quite specific--to \"promote . . . " +"Progress\"--through means that are also specific-- by \"securing\" " +"\"exclusive Rights\" (i.e., copyrights) \"for limited Times.\"" +msgstr "" + +#. PAGE BREAK 223 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In the past forty years, Congress has gotten into the practice of extending " +"existing terms of copyright protection. What puzzled me about this was, if " +"Congress has the power to extend existing terms, then the Constitution's " +"requirement that terms be \"limited\" will have no practical effect. If " +"every time a copyright is about to expire, Congress has the power to extend " +"its term, then Congress can achieve what the Constitution plainly forbids--" +"perpetual terms \"on the installment plan,\" as Professor Peter Jaszi so " +"nicely put it." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As an academic, my first response was to hit the books. I remember sitting " +"late at the office, scouring on-line databases for any serious consideration " +"of the question. No one had ever challenged Congress's practice of extending " +"existing terms. That failure may in part be why Congress seemed so " +"untroubled in its habit. That, and the fact that the practice had become so " +"lucrative for Congress. Congress knows that copyright owners will be willing " +"to pay a great deal of money to see their copyright terms extended. And so " +"Congress is quite happy to keep this gravy train going." +msgstr "" +"som en akademiker var min første reaksjon Ã¥ trykke bøker. Jeg husker " +"sittende sent pÃ¥ kontoret, scouring on-line databaser for noen seriøs " +"vurdering av spørsmÃ¥let. Ingen hadde noen gang utfordret congress's praksis " +"for Ã¥ utvide eksisterende vilkÃ¥r. at feil kan delvis være grunnen kongress " +"syntes sÃ¥ untroubled i sin vane. det, og det faktum at praksis hadde blitt " +"sÃ¥ lukrative for Kongressen. landsmøtet vet at eiere av opphavsretter vil " +"være villig til Ã¥ betale mye penger Ã¥ se sine opphavsrett vilkÃ¥r utvidet. og " +"sÃ¥ congress er ganske fornøyd med Ã¥ holde denne Kjøttsaft tog gÃ¥r." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"For this is the core of the corruption in our present system of government. " +"\"Corruption\" not in the sense that representatives are bribed. Rather, " +"\"corruption\" in the sense that the system induces the beneficiaries of " +"Congress's acts to raise and give money to Congress to induce it to act. " +"There's only so much time; there's only so much Congress can do. Why not " +"limit its actions to those things it must do--and those things that pay? " +"Extending copyright terms pays." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"If that's not obvious to you, consider the following: Say you're one of the " +"very few lucky copyright owners whose copyright continues to make money one " +"hundred years after it was created. The Estate of Robert Frost is a good " +"example. Frost died in 1963. His poetry continues to be extraordinarily " +"valuable. Thus the Robert Frost estate benefits greatly from any extension " +"of copyright, since no publisher would pay the estate any money if the poems " +"Frost wrote could be published by anyone for free." +msgstr "" +"Hvis det ikke er Ã¥penbart for deg, kan du vurdere følgende: si du er en av " +"svært fÃ¥ heldige opphavsrett eierne som har copyright fortsetter Ã¥ gjøre " +"penger ett hundre Ã¥r etter at den ble opprettet. eiendom av robert frost er " +"et godt eksempel. Frost døde i 1963. hans poesi fortsetter Ã¥ være svært " +"verdifull. Dermed kan robert frost eiendom fordelene sterkt fra noen " +"utvidelse av opphavsrett, siden ingen publisher vil betale eiendom noen " +"penger hvis dikt frost skrev publiseres av alle gratis." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"So imagine the Robert Frost estate is earning $100,000 a year from three of " +"Frost's poems. And imagine the copyright for those poems is about to expire. " +"You sit on the board of the Robert Frost estate. Your financial adviser " +"comes to your board meeting with a very grim report:" +msgstr "" +"sÃ¥ forestille robert frost eiendom er tjener $100.000 i Ã¥ret fra tre av " +"frost's dikt. og forestille seg opphavsretten for disse diktene er i ferd " +"med Ã¥ utløpe. du sitter i styret for robert frost eiendom. finansiell " +"rÃ¥dgiver kommer til din styremøte med en svært dystre rapport:" + +#. PAGE BREAK 224 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Next year,\" the adviser announces, \"our copyrights in works A, B, and C " +"will expire. That means that after next year, we will no longer be receiving " +"the annual royalty check of $100,000 from the publishers of those works." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"There's a proposal in Congress, however,\" she continues, \"that could " +"change this. A few congressmen are floating a bill to extend the terms of " +"copyright by twenty years. That bill would be extraordinarily valuable to " +"us. So we should hope this bill passes.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Hope?\" a fellow board member says. \"Can't we be doing something about it?" +"\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Well, obviously, yes,\" the adviser responds. \"We could contribute to the " +"campaigns of a number of representatives to try to assure that they support " +"the bill.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"You hate politics. You hate contributing to campaigns. So you want to know " +"whether this disgusting practice is worth it. \"How much would we get if " +"this extension were passed?\" you ask the adviser. \"How much is it worth?\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Well,\" the adviser says, \"if you're confident that you will continue to " +"get at least $100,000 a year from these copyrights, and you use the " +"`discount rate' that we use to evaluate estate investments (6 percent), then " +"this law would be worth $1,146,000 to the estate.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"You're a bit shocked by the number, but you quickly come to the correct " +"conclusion:" +msgstr "" +"du er litt sjokkert av nummeret, men du komme raskt til riktig konklusjon:" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"So you're saying it would be worth it for us to pay more than $1,000,000 " +"in campaign contributions if we were confident those contributions would " +"assure that the bill was passed?\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"Absolutely,\" the adviser responds. \"It is worth it to you to contribute " +"up to the `present value' of the income you expect from these copyrights. " +"Which for us means over $1,000,000.\"" +msgstr "" + +#. PAGE BREAK 225 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"You quickly get the point--you as the member of the board and, I trust, you " +"the reader. Each time copyrights are about to expire, every beneficiary in " +"the position of the Robert Frost estate faces the same choice: If they can " +"contribute to get a law passed to extend copyrights, they will benefit " +"greatly from that extension. And so each time copyrights are about to " +"expire, there is a massive amount of lobbying to get the copyright term " +"extended." +msgstr "" +"du raskt fÃ¥ poeng--du som medlem av styret, og jeg stoler du leseren. hver " +"gang opphavsrett er om Ã¥ opphøre, hver mottaker i posisjon av robert frost " +"eiendom stÃ¥r overfor det samme valget: Hvis de kan bidra til Ã¥ fÃ¥ en lov " +"vedtatt for Ã¥ utvide opphavsrettigheter, de vil ha stor nytte fra denne " +"filtypen. og sÃ¥ hver gang opphavsrett er om Ã¥ opphøre, det er en enorm " +"mengde lobbyvirksomhet for Ã¥ fÃ¥ opphavsrett begrepet utvidet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Thus a congressional perpetual motion machine: So long as legislation can be " +"bought (albeit indirectly), there will be all the incentive in the world to " +"buy further extensions of copyright." +msgstr "" +"dermed en Kongressens evighetsmaskin maskin: sÃ¥ lenge lovgivning kan kjøpes " +"(riktignok indirekte), vil det være alle ansporingen i verden til Ã¥ kjøpe " +"ytterligere utvidelser av copyright." + +#. f3. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse " +"Effort; Congress OKs Bill Granting Creators 20 More Years,\" Chicago " +"Tribune, 17 October 1998, 22." +msgstr "" + +#. f4. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"See Nick Brown, \"Fair Use No More?: Copyright in the Information Age,\" " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #49</ulink>." +msgstr "" + +#. f5. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" Congressional " +"Quarterly This Week, 8 August 1990, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #50</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In the lobbying that led to the passage of the Sonny Bono Copyright Term " +"Extension Act, this \"theory\" about incentives was proved real. Ten of the " +"thirteen original sponsors of the act in the House received the maximum " +"contribution from Disney's political action committee; in the Senate, eight " +"of the twelve sponsors received contributions.<placeholder type=\"footnote\" " +"id=\"0\"/> The RIAA and the MPAA are estimated to have spent over $1.5 " +"million lobbying in the 1998 election cycle. They paid out more than " +"$200,000 in campaign contributions.<placeholder type=\"footnote\" id=\"1\"/> " +"Disney is estimated to have contributed more than $800,000 to reelection " +"campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Constitutional law is not oblivious to the obvious. Or at least, it need not " +"be. So when I was considering Eldred's complaint, this reality about the " +"never-ending incentives to increase the copyright term was central to my " +"thinking. In my view, a pragmatic court committed to interpreting and " +"applying the Constitution of our framers would see that if Congress has the " +"power to extend existing terms, then there would be no effective " +"constitutional requirement that terms be \"limited.\" If they could extend " +"it once, they would extend it again and again and again." +msgstr "" + +#. PAGE BREAK 226 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It was also my judgment that this Supreme Court would not allow Congress to " +"extend existing terms. As anyone close to the Supreme Court's work knows, " +"this Court has increasingly restricted the power of Congress when it has " +"viewed Congress's actions as exceeding the power granted to it by the " +"Constitution. Among constitutional scholars, the most famous example of this " +"trend was the Supreme Court's decision in 1995 to strike down a law that " +"banned the possession of guns near schools." +msgstr "" +"Det var ogsÃ¥ mitt skjønn at denne Høyesterett ikke ville tillate at " +"Kongressen til Ã¥ utvide eksisterende vilkÃ¥r. alle nær Høyesterett arbeid " +"vet, har denne retten i økende grad begrenset kraften i Kongressen nÃ¥r det " +"har sett congress's handlinger som overstiger makt som er gitt til det av " +"Grunnloven. blant konstitusjonelle forskere var det mest kjente eksempelet " +"av denne trenden Høyesterett beslutning i 1995 Ã¥ ramme en lov som forbød " +"besittelse av vÃ¥pen i nærheten av skoler." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Since 1937, the Supreme Court had interpreted Congress's granted powers very " +"broadly; so, while the Constitution grants Congress the power to regulate " +"only \"commerce among the several states\" (aka \"interstate commerce\"), " +"the Supreme Court had interpreted that power to include the power to " +"regulate any activity that merely affected interstate commerce." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As the economy grew, this standard increasingly meant that there was no " +"limit to Congress's power to regulate, since just about every activity, when " +"considered on a national scale, affects interstate commerce. A Constitution " +"designed to limit Congress's power was instead interpreted to impose no " +"limit." +msgstr "" +"som økonomien vokste, mente denne standarden stadig at det var ingen grense " +"congress's makt til Ã¥ regulere, siden omtrent hver aktivitet, nÃ¥r det i " +"nasjonal skala, pÃ¥virker utdanningen handel. en konstitusjon som er utformet " +"for Ã¥ begrense Kongressens makt ble i stedet tolket for Ã¥ innføre ingen " +"grense." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Supreme Court, under Chief Justice Rehnquist's command, changed that in " +"United States v. Lopez. The government had argued that possessing guns near " +"schools affected interstate commerce. Guns near schools increase crime, " +"crime lowers property values, and so on. In the oral argument, the Chief " +"Justice asked the government whether there was any activity that would not " +"affect interstate commerce under the reasoning the government advanced. The " +"government said there was not; if Congress says an activity affects " +"interstate commerce, then that activity affects interstate commerce. The " +"Supreme Court, the government said, was not in the position to second-guess " +"Congress." +msgstr "" +"Høyesterett, under chief justice rehnquist kommando, endret som i USA v. " +"lopez. regjeringen hadde hevdet at ha vÃ¥pen i nærheten av skoler berørt " +"utdanningen handel. vÃ¥pen i nærheten av skoler øke kriminalitet, " +"kriminalitet senker egenskapsverdier, og sÃ¥ videre. i argumentet muntlig " +"bedt justisministeren regjeringen om det var noen aktivitet som ikke vil " +"pÃ¥virke utdanningen handel under begrunnelsen regjeringen Avansert. " +"regjeringen sa det var ikke; Hvis Kongressen sier en aktivitet pÃ¥virker " +"utdanningen handel, pÃ¥virker den aktiviteten utdanningen handel. " +"Høyesterett, regjeringen sa, var ikke i posisjon til Ã¥ second-guess " +"Kongressen." + +#. f6. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "United States v. Lopez, 514 U.S. 549, 564 (1995)." +msgstr "USA v. lopez, 514 amerikanske 549, 564 (1995)." + +#. f7. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "United States v. Morrison, 529 U.S. 598 (2000)." +msgstr "USA v. morrison, 529 amerikanske 598 (2000)." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"We pause to consider the implications of the government's arguments,\" the " +"Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> If anything " +"Congress says is interstate commerce must therefore be considered interstate " +"commerce, then there would be no limit to Congress's power. The decision in " +"Lopez was reaffirmed five years later in United States v. Morrison." +"<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. f8. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"If it is a principle about enumerated powers, then the principle carries " +"from one enumerated power to another. The animating point in the context of " +"the Commerce Clause was that the interpretation offered by the government " +"would allow the government unending power to regulate commerce--the " +"limitation to interstate commerce notwithstanding. The same point is true in " +"the context of the Copyright Clause. Here, too, the government's " +"interpretation would allow the government unending power to regulate " +"copyrights--the limitation to \"limited times\" notwithstanding." +msgstr "" + +#. PAGE BREAK 227 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"If a principle were at work here, then it should apply to the Progress " +"Clause as much as the Commerce Clause.<placeholder type=\"footnote\" id=" +"\"0\"/> And if it is applied to the Progress Clause, the principle should " +"yield the conclusion that Congress can't extend an existing term. If " +"Congress could extend an existing term, then there would be no \"stopping " +"point\" to Congress's power over terms, though the Constitution expressly " +"states that there is such a limit. Thus, the same principle applied to the " +"power to grant copyrights should entail that Congress is not allowed to " +"extend the term of existing copyrights." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"If, that is, the principle announced in Lopez stood for a principle. Many " +"believed the decision in Lopez stood for politics--a conservative Supreme " +"Court, which believed in states' rights, using its power over Congress to " +"advance its own personal political preferences. But I rejected that view of " +"the Supreme Court's decision. Indeed, shortly after the decision, I wrote an " +"article demonstrating the \"fidelity\" in such an interpretation of the " +"Constitution. The idea that the Supreme Court decides cases based upon its " +"politics struck me as extraordinarily boring. I was not going to devote my " +"life to teaching constitutional law if these nine Justices were going to be " +"petty politicians." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Now let's pause for a moment to make sure we understand what the argument in " +"Eldred was not about. By insisting on the Constitution's limits to " +"copyright, obviously Eldred was not endorsing piracy. Indeed, in an obvious " +"sense, he was fighting a kind of piracy--piracy of the public domain. When " +"Robert Frost wrote his work and when Walt Disney created Mickey Mouse, the " +"maximum copyright term was just fifty-six years. Because of interim changes, " +"Frost and Disney had already enjoyed a seventy-five-year monopoly for their " +"work. They had gotten the benefit of the bargain that the Constitution " +"envisions: In exchange for a monopoly protected for fifty-six years, they " +"created new work. But now these entities were using their power--expressed " +"through the power of lobbyists' money--to get another twenty-year dollop of " +"monopoly. That twenty-year dollop would be taken from the public domain. " +"Eric Eldred was fighting a piracy that affects us all." +msgstr "" +"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, " +"var Ã¥penbart eldred ikke støttet piratkopiering. faktisk i en Ã¥penbar " +"forstand kjemper han en form for piratkopiering--piratkopiering av den " +"offentlige sfæren. da robert frost skrev hans arbeid og nÃ¥r walt disney " +"opprettet Mikke Mus, maksimal opphavsrett begrepet var bare femtiseks Ã¥r. pÃ¥ " +"grunn av midlertidige endringer, hadde frost og disney allerede likte " +"monopol sytti-fem Ã¥r for deres arbeid. de hadde fÃ¥tt fordelen av handel som " +"Grunnloven ser for seg: i bytte for et monopol som er beskyttet for femti-" +"seks Ã¥r, de opprettet nytt arbeid. men nÃ¥ disse enhetene bruker deres makt--" +"uttrykt gjennom strømmen av lobbyister penger--for Ã¥ fÃ¥ en annen tyve Ã¥rs " +"dollop av monopol. at tyve Ã¥rs Dollop dollop ville bli Hentet fra public " +"domain. Eric eldred var kjemper en piratkopiering som pÃ¥virker oss alle." + +#. f9. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Brief of the Nashville Songwriters Association, Eldred v. Ashcroft, 537 U." +"S. 186 (2003) (No. 01-618), n.10, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #51</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Some people view the public domain with contempt. In their brief before the " +"Supreme Court, the Nashville Songwriters Association wrote that the public " +"domain is nothing more than \"legal piracy.\"<placeholder type=\"footnote\" " +"id=\"0\"/> But it is not piracy when the law allows it; and in our " +"constitutional system, our law requires it. Some may not like the " +"Constitution's requirements, but that doesn't make the Constitution a " +"pirate's charter." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As we've seen, our constitutional system requires limits on copyright as a " +"way to assure that copyright holders do not too heavily influence the " +"development and distribution of our culture. Yet, as Eric Eldred discovered, " +"we have set up a system that assures that copyright terms will be repeatedly " +"extended, and extended, and extended. We have created the perfect storm for " +"the public domain. Copyrights have not expired, and will not expire, so long " +"as Congress is free to be bought to extend them again." +msgstr "" +"som vi har sett, krever systemet vÃ¥rt konstitusjonelle begrensninger pÃ¥ " +"opphavsrett som en mÃ¥te Ã¥ sikre at innehaver av opphavsrett ikke for sterkt " +"pÃ¥virke utviklingen og distribueringen av vÃ¥r kultur. ennÃ¥, som eric eldred " +"oppdaget, har vi satt opp et system som sikrer at opphavsrett vilkÃ¥rene vil " +"være gjentatte ganger utvidet, og utvidet, og utvidet. Vi har opprettet den " +"perfekte stormen for public domain. opphavsrett er utløpt ikke, og utløper " +"ikke, sÃ¥ lenge congress er gratis kjøpes for Ã¥ utvide dem igjen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It is valuable copyrights that are responsible for terms being extended. " +"Mickey Mouse and \"Rhapsody in Blue.\" These works are too valuable for " +"copyright owners to ignore. But the real harm to our society from copyright " +"extensions is not that Mickey Mouse remains Disney's. Forget Mickey Mouse. " +"Forget Robert Frost. Forget all the works from the 1920s and 1930s that have " +"continuing commercial value. The real harm of term extension comes not from " +"these famous works. The real harm is to the works that are not famous, not " +"commercially exploited, and no longer available as a result." +msgstr "" + +#. f10. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"The figure of 2 percent is an extrapolation from the study by the " +"Congressional Research Service, in light of the estimated renewal ranges. " +"See Brief of Petitioners, Eldred v. Ashcroft, 7, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #52</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"If you look at the work created in the first twenty years (1923 to 1942) " +"affected by the Sonny Bono Copyright Term Extension Act, 2 percent of that " +"work has any continuing commercial value. It was the copyright holders for " +"that 2 percent who pushed the CTEA through. But the law and its effect were " +"not limited to that 2 percent. The law extended the terms of copyright " +"generally.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 229 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Think practically about the consequence of this extension--practically, as a " +"businessperson, and not as a lawyer eager for more legal work. In 1930, " +"10,047 books were published. In 2000, 174 of those books were still in " +"print. Let's say you were Brewster Kahle, and you wanted to make available " +"to the world in your iArchive project the remaining 9,873. What would you " +"have to do?" +msgstr "" +"Tenk praktisk talt konsekvens av denne utvidelsen--praktisk talt, som en " +"businessperson, og ikke som en advokat ivrige etter Ã¥ fÃ¥ mer juridisk " +"arbeid. i 1930, ble 10,047 bøker utgitt. i 2000 var 174 av bøkene fortsatt i " +"utskriften. La oss si at du var brewster kahle, og du vil gjøre tilgjengelig " +"for verden i iarchive prosjektet gjenværende 9,873. Hva ville du trenger Ã¥ " +"gjøre?" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Well, first, you'd have to determine which of the 9,873 books were still " +"under copyright. That requires going to a library (these data are not on-" +"line) and paging through tomes of books, cross-checking the titles and " +"authors of the 9,873 books with the copyright registration and renewal " +"records for works published in 1930. That will produce a list of books still " +"under copyright." +msgstr "" +"Vel, først, ville du har til Ã¥ bestemme hvilke av de 9,873 bøkene var " +"fortsatt under copyright. som krever skal et bibliotek (disse dataene ikke " +"er on-line) og sidevekslingsfilen gjennom tomes bøker, pÃ¥ tvers av " +"kontrollere titler og forfatterne av 9,873 bøker med copyright registrering " +"og fornyelse postene for verk utgitt i 1930. som vil produsere en liste over " +"bøker som fortsatt under opphavsrett." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Then for the books still under copyright, you would need to locate the " +"current copyright owners. How would you do that?" +msgstr "" +"deretter for bøkene fortsatt under opphavsrett trenger du Ã¥ finne gjeldende " +"opphavsrett eiere. How 'd du gjøre det?" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Most people think that there must be a list of these copyright owners " +"somewhere. Practical people think this way. How could there be thousands and " +"thousands of government monopolies without there being at least a list?" +msgstr "" +"de fleste mennesker tror at det mÃ¥ være en liste over disse eiere av " +"opphavsretter et sted. praktisk folk tror pÃ¥ denne mÃ¥ten. Hvordan kunne det " +"være tusenvis og tusenvis av regjeringen monopoler uten det er minst en " +"liste?" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But there is no list. There may be a name from 1930, and then in 1959, of " +"the person who registered the copyright. But just think practically about " +"how impossibly difficult it would be to track down thousands of such " +"records--especially since the person who registered is not necessarily the " +"current owner. And we're just talking about 1930!" +msgstr "" +"men det er ingen liste. Det kan være et navn fra 1930, og deretter i 1959, " +"pÃ¥ personen som registrerte opphavsretten. men det er bare tenke praktisk " +"talt pÃ¥ hvordan impossibly vanskelig det ville være Ã¥ spore opp tusenvis av " +"slike poster--spesielt siden personen som registrert ikke er nødvendigvis " +"gjeldende eier. og vi snakker bare om 1930!" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"But there isn't a list of who owns property generally,\" the apologists " +"for the system respond. \"Why should there be a list of copyright owners?\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Well, actually, if you think about it, there are plenty of lists of who owns " +"what property. Think about deeds on houses, or titles to cars. And where " +"there isn't a list, the code of real space is pretty good at suggesting who " +"the owner of a bit of property is. (A swing set in your backyard is probably " +"yours.) So formally or informally, we have a pretty good way to know who " +"owns what tangible property." +msgstr "" +"Vel, egentlig, er Hvis du tenker pÃ¥ det, det masse av lister av hvem som " +"eier hva egenskapen. Tenk pÃ¥ gjerninger pÃ¥ hus eller titler til biler. og " +"der det ikke finnes en liste, koden for virkelige rommet er ganske god til Ã¥ " +"foreslÃ¥ som eieren av en bit av egenskapen er. (en sving i bakgÃ¥rden er " +"sannsynligvis ditt.) sÃ¥ har formelt eller uformelt, vi en ganske god mÃ¥te Ã¥ " +"vite hvem som eier hvilke konkrete-egenskapen." + +#. PAGE BREAK 230 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"So: You walk down a street and see a house. You can know who owns the house " +"by looking it up in the courthouse registry. If you see a car, there is " +"ordinarily a license plate that will link the owner to the car. If you see a " +"bunch of children's toys sitting on the front lawn of a house, it's fairly " +"easy to determine who owns the toys. And if you happen to see a baseball " +"lying in a gutter on the side of the road, look around for a second for some " +"kids playing ball. If you don't see any kids, then okay: Here's a bit of " +"property whose owner we can't easily determine. It is the exception that " +"proves the rule: that we ordinarily know quite well who owns what property." +msgstr "" +"slik: du gÃ¥ ned en gate og ser et hus. du vet hvem som eier huset ved slÃ¥ " +"opp i courthouse registret. Hvis du ser en bil, er det vanligvis en lisens " +"plate som skal knytte eieren til bilen. Hvis du ser en rekke barneleker " +"sitter pÃ¥ fremsiden plen av et hus, er det ganske enkelt Ã¥ finne ut hvem som " +"eier leketøy. og hvis du tilfeldigvis ser en baseball liggende i en " +"innbindingsmarg pÃ¥ siden av veien, se deg rundt for andre for noen barn " +"spille ball. Hvis du ikke ser noen barn, deretter OK: Her er litt av eiendom " +"der eieren vi ikke finner lett. Det er unntaket som beviser regelen: at vi " +"vanligvis vet svært godt hvem som eier hva egenskapen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Compare this story to intangible property. You go into a library. The " +"library owns the books. But who owns the copyrights? As I've already " +"described, there's no list of copyright owners. There are authors' names, of " +"course, but their copyrights could have been assigned, or passed down in an " +"estate like Grandma's old jewelry. To know who owns what, you would have to " +"hire a private detective. The bottom line: The owner cannot easily be " +"located. And in a regime like ours, in which it is a felony to use such " +"property without the property owner's permission, the property isn't going " +"to be used." +msgstr "" +"sammenligne denne historien til immaterielle eiendom. du gÃ¥r inn i et " +"bibliotek. biblioteket eier bøkene. men hvem som eier opphavsretten? som jeg " +"allerede har beskrevet, er det ingen liste over eiere av opphavsretter. Det " +"finnes forfatternes navn, selvfølgelig, men sine opphavsrettigheter kan er " +"tilordnet, eller gÃ¥tt ned i en eiendom som grandma's gamle smykker. Hvis du " +"vil vite hvem som eier hva, ville du har til Ã¥ ansette en privat " +"etterforsker. Bunnlinjen: eieren ikke lett blir funnet. og i et regime som " +"vÃ¥rt, der er det en forbrytelse Ã¥ bruke slike eiendom uten egenskapen " +"eierens tillatelse, egenskapen er ikke skal brukes." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The consequence with respect to old books is that they won't be digitized, " +"and hence will simply rot away on shelves. But the consequence for other " +"creative works is much more dire." +msgstr "" +"konsekvens med hensyn til gamle bøker er at de ikke digitalisert, og dermed " +"vil bare rot bort pÃ¥ hyller. men konsekvensen for andre kreative verker er " +"mye mer dire." + +#. f11. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" Los " +"Angeles Times, 6 October 2002; David Streitfeld, \"Classic Movies, Songs, " +"Books at Stake; Supreme Court Hears Arguments Today on Striking Down " +"Copyright Extension,\" Orlando Sentinel Tribune, 9 October 2002." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Consider the story of Michael Agee, chairman of Hal Roach Studios, which " +"owns the copyrights for the Laurel and Hardy films. Agee is a direct " +"beneficiary of the Bono Act. The Laurel and Hardy films were made between " +"1921 and 1951. Only one of these films, The Lucky Dog, is currently out of " +"copyright. But for the CTEA, films made after 1923 would have begun entering " +"the public domain. Because Agee controls the exclusive rights for these " +"popular films, he makes a great deal of money. According to one estimate, " +"\"Roach has sold about 60,000 videocassettes and 50,000 DVDs of the duo's " +"silent films.\"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet Agee opposed the CTEA. His reasons demonstrate a rare virtue in this " +"culture: selflessness. He argued in a brief before the Supreme Court that " +"the Sonny Bono Copyright Term Extension Act will, if left standing, destroy " +"a whole generation of American film." +msgstr "" +"ennÃ¥ imot agee ctea. hans grunner demonstrere en sjelden dyd i denne " +"kulturen: selflessness. Han hevdet i en kort før Høyesterett at sonny bono " +"opphavsrett begrepet filtypen act vil, hvis stÃ¥ stÃ¥ende, ødelegge en hel " +"generasjon av american film." + +#. PAGE BREAK 231 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"His argument is straightforward. A tiny fraction of this work has any " +"continuing commercial value. The rest--to the extent it survives at all--" +"sits in vaults gathering dust. It may be that some of this work not now " +"commercially valuable will be deemed to be valuable by the owners of the " +"vaults. For this to occur, however, the commercial benefit from the work " +"must exceed the costs of making the work available for distribution." +msgstr "" +"hans argument er enkelt. en liten brøkdel av dette arbeidet har noen " +"vedvarende kommersiell verdi. resten--i den grad det er blitt bevart pÃ¥ " +"alle--sitter i vaults samle støv. Det kan være at noe av dette arbeidet ikke " +"nÃ¥ kommersielt verdifull, anses for Ã¥ være verdifulle av eierne av vaults. " +"for at dette skal skje, men mÃ¥ kommersiell fordel fra arbeidet overskride " +"kostnadene ved Ã¥ gjøre arbeidet tilgjengelig for distribusjon." + +#. f12. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the " +"Petitoners, Eldred v. Ashcroft, 537 U.S. 186 (2003) (No. 01- 618), 12. See " +"also Brief of Amicus Curiae filed on behalf of Petitioners by the Internet " +"Archive, Eldred v. Ashcroft, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #53</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We can't know the benefits, but we do know a lot about the costs. For most " +"of the history of film, the costs of restoring film were very high; digital " +"technology has lowered these costs substantially. While it cost more than " +"$10,000 to restore a ninety-minute black-and-white film in 1993, it can now " +"cost as little as $100 to digitize one hour of mm film.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Restoration technology is not the only cost, nor the most important. " +"Lawyers, too, are a cost, and increasingly, a very important one. In " +"addition to preserving the film, a distributor needs to secure the rights. " +"And to secure the rights for a film that is under copyright, you need to " +"locate the copyright owner." +msgstr "" +"restaurering teknologien er ikke den eneste kostnaden, og heller ikke det " +"viktigste. advokater, er ogsÃ¥ en kostnad, og i økende grad, en meget " +"betydelig ettall. i tillegg til bevare filmen, mÃ¥ en distributør Ã¥ sikre " +"rettighetene. og for Ã¥ sikre rettighetene for en film som er under " +"opphavsrett, du trenger Ã¥ finne eieren av opphavsretten." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Or more accurately, owners. As we've seen, there isn't only a single " +"copyright associated with a film; there are many. There isn't a single " +"person whom you can contact about those copyrights; there are as many as can " +"hold the rights, which turns out to be an extremely large number. Thus the " +"costs of clearing the rights to these films is exceptionally high." +msgstr "" +"eller mer nøyaktig, eiere. som vi har sett, det er ikke bare en enkelt " +"copyright tilknyttet en film; Det er mange. Det er ikke en eneste person " +"hvem du kan kontakte om måte av opphavsrettighetene; Det er sÃ¥ mange som " +"kan holde rettigheter, som viser seg for Ã¥ være et svært stort tall. dermed " +"kostnadene ved Ã¥ fjerne rettighetene til disse filmene er usedvanlig høy." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"But can't you just restore the film, distribute it, and then pay the " +"copyright owner when she shows up?\" Sure, if you want to commit a felony. " +"And even if you're not worried about committing a felony, when she does show " +"up, she'll have the right to sue you for all the profits you have made. So, " +"if you're successful, you can be fairly confident you'll be getting a call " +"from someone's lawyer. And if you're not successful, you won't make enough " +"to cover the costs of your own lawyer. Either way, you have to talk to a " +"lawyer. And as is too often the case, saying you have to talk to a lawyer is " +"the same as saying you won't make any money." +msgstr "" + +#. PAGE BREAK 232 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"For some films, the benefit of releasing the film may well exceed these " +"costs. But for the vast majority of them, there is no way the benefit would " +"outweigh the legal costs. Thus, for the vast majority of old films, Agee " +"argued, the film will not be restored and distributed until the copyright " +"expires." +msgstr "" +"for noen filmer, kan fordelen av Ã¥ slippe filmen godt overskride disse " +"kostnadene. men for de aller fleste av dem, det er ikke mulig nytte ville " +"oppveier saksomkostninger. SÃ¥ledes, for de aller fleste av gamle filmer, " +"agee hevdet, filmen vil ikke bli restaurert og distribuert til opphavsretten " +"utløper." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But by the time the copyright for these films expires, the film will have " +"expired. These films were produced on nitrate-based stock, and nitrate stock " +"dissolves over time. They will be gone, and the metal canisters in which " +"they are now stored will be filled with nothing more than dust." +msgstr "" +"men da opphavsretten for disse filmene utløper, vil filmen har utløpt. disse " +"filmene ble produsert pÃ¥ nitrat-basert lager, og nitrat lager oppløser over " +"tid. de vil være borte, og metall canisters der de er nÃ¥ lagret bli fylt med " +"noe mer enn støv." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Of all the creative work produced by humans anywhere, a tiny fraction has " +"continuing commercial value. For that tiny fraction, the copyright is a " +"crucially important legal device. For that tiny fraction, the copyright " +"creates incentives to produce and distribute the creative work. For that " +"tiny fraction, the copyright acts as an \"engine of free expression.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But even for that tiny fraction, the actual time during which the creative " +"work has a commercial life is extremely short. As I've indicated, most books " +"go out of print within one year. The same is true of music and film. " +"Commercial culture is sharklike. It must keep moving. And when a creative " +"work falls out of favor with the commercial distributors, the commercial " +"life ends." +msgstr "" +"men selv for at liten brøkdel, den faktiske tiden da skapende arbeid har en " +"kommersiell levetid er ekstremt kort. som jeg har angitt, vil de fleste " +"bøker gÃ¥ ut av Skriv ut innen ett Ã¥r. det samme gjelder av musikk og film. " +"kommersielle kultur er sharklike. Det mÃ¥ bevege. og nÃ¥r en skapende arbeid " +"faller ut av tjeneste med kommersielle distributører, kommersiell levetid " +"slutter." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet that doesn't mean the life of the creative work ends. We don't keep " +"libraries of books in order to compete with Barnes & Noble, and we don't " +"have archives of films because we expect people to choose between spending " +"Friday night watching new movies and spending Friday night watching a 1930 " +"news documentary. The noncommercial life of culture is important and " +"valuable--for entertainment but also, and more importantly, for knowledge. " +"To understand who we are, and where we came from, and how we have made the " +"mistakes that we have, we need to have access to this history." +msgstr "" +"Det betyr ennÃ¥ ikke livet av endene skapende arbeid. vi holde ikke " +"biblioteker av bøker for Ã¥ konkurrere med barnes & noble, og vi har ikke " +"arkiver av filmer fordi forventer vi folk til Ã¥ velge mellom utgifter fredag " +"kveld Ã¥ se nye filmer og utgifter fredag kveld Ã¥ se en 1930 nyheter " +"dokumentar. ikke-kommersiell livet av kultur er viktig og verdifull--for " +"underholdning men ogsÃ¥, og enda viktigere, for kunnskap. for Ã¥ forstÃ¥ hvem " +"vi er, og der vi kom fra, og hvordan vi har gjort feil som vi har, trenger " +"vi Ã¥ ha tilgang til denne historien." + +#. PAGE BREAK 233 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Copyrights in this context do not drive an engine of free expression. In " +"this context, there is no need for an exclusive right. Copyrights in this " +"context do no good." +msgstr "" +"opphavsrettigheter i denne konteksten Kjør ikke en motor gratis " +"uttrykksmÃ¥ter. i denne sammenheng er det ikke behov for en eksklusiv rett. " +"opphavsrettigheter i denne konteksten ikke nytter." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet, for most of our history, they also did little harm. For most of our " +"history, when a work ended its commercial life, there was no copyright-" +"related use that would be inhibited by an exclusive right. When a book went " +"out of print, you could not buy it from a publisher. But you could still " +"buy it from a used book store, and when a used book store sells it, in " +"America, at least, there is no need to pay the copyright owner anything. " +"Thus, the ordinary use of a book after its commercial life ended was a use " +"that was independent of copyright law." +msgstr "" +"Likevel, for det meste av 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 " +"ingen copyright-relaterte bruk som ville være inhibited med en eksklusiv " +"rett. NÃ¥r en bok gikk ut av print, kan du ikke kjøpe det fra en utgiver. men " +"du kan fortsatt kjøpe den fra brukt boka store, og nÃ¥r brukt boka store " +"selger den, i Amerika, minst, det er ikke nødvendig Ã¥ betale eieren av " +"opphavsretten noe. dermed var vanlig bruk av en bok etter sin kommersiell " +"levetid avsluttet en bruk som var uavhengig av lov om opphavsrett." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The same was effectively true of film. Because the costs of restoring a " +"film--the real economic costs, not the lawyer costs--were so high, it was " +"never at all feasible to preserve or restore film. Like the remains of a " +"great dinner, when it's over, it's over. Once a film passed out of its " +"commercial life, it may have been archived for a bit, but that was the end " +"of its life so long as the market didn't have more to offer." +msgstr "" +"det samme var effektivt sant av film. fordi kostnadene for Ã¥ gjenopprette en " +"film--den virkelige økonomiske kostnader, ikke advokat kostnadene--var sÃ¥ " +"høyt, det var aldri i det hele tatt mulig Ã¥ beholde eller gjenopprette " +"filmen. som restene av en stor middag, nÃ¥r det er over, er over. NÃ¥r en film " +"gikk ut av sine kommersielle livet, det kan ha blitt arkivert for litt, men " +"det var slutten av sitt liv sÃ¥ lenge markedet ikke har mer Ã¥ tilby." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In other words, though copyright has been relatively short for most of our " +"history, long copyrights wouldn't have mattered for the works that lost " +"their commercial value. Long copyrights for these works would not have " +"interfered with anything." +msgstr "" +"med andre ord, om copyright har vært relativt kort for mesteparten av vÃ¥r " +"historie, ville ikke lang opphavsrett ha mattered for arbeider som mistet " +"sin kommersiell verdi. lang opphavsretten for disse arbeider ville ikke har " +"interfered med noe." + +#. type: Content of: <book><chapter><sect1><para> +msgid "But this situation has now changed." +msgstr "men denne situasjonen er nÃ¥ endret." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"One crucially important consequence of the emergence of digital technologies " +"is to enable the archive that Brewster Kahle dreams of. Digital " +"technologies now make it possible to preserve and give access to all sorts " +"of knowledge. Once a book goes out of print, we can now imagine digitizing " +"it and making it available to everyone, forever. Once a film goes out of " +"distribution, we could digitize it and make it available to everyone, " +"forever. Digital technologies give new life to copyrighted material after it " +"passes out of its commercial life. It is now possible to preserve and assure " +"universal access to this knowledge and culture, whereas before it was not." +msgstr "" +"en svært viktig konsekvens av fremveksten av digital teknologi er Ã¥ aktivere " +"arkivet at brewster kahle drømmer om. Digital teknologi gjør det nÃ¥ mulig Ã¥ " +"bevare og gi tilgang til alle slags kunnskap. NÃ¥r en bok gÃ¥r ute av print, " +"kan vi nÃ¥ forestille digitalisere det og gjøre den tilgjengelig for alle, " +"evig. NÃ¥r en film gÃ¥r ut av distribusjon, kunne vi digitalisere det og gjøre " +"den tilgjengelig for alle, evig. Digital teknologi gi nytt liv til " +"opphavsrettsbeskyttet materiale nÃ¥r den sender ut av sin kommersiell " +"levetid. Det er nÃ¥ mulig Ã¥ bevare og forsikrer særlige til denne kunnskap og " +"kultur, mens før det ikke var." + +#. PAGE BREAK 234 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"And now copyright law does get in the way. Every step of producing this " +"digital archive of our culture infringes on the exclusive right of " +"copyright. To digitize a book is to copy it. To do that requires permission " +"of the copyright owner. The same with music, film, or any other aspect of " +"our culture protected by copyright. The effort to make these things " +"available to history, or to researchers, or to those who just want to " +"explore, is now inhibited by a set of rules that were written for a " +"radically different context." +msgstr "" +"og nÃ¥ lov om opphavsrett komme i veien. hvert trinn for Ã¥ produsere denne " +"digitalt arkiv av vÃ¥r kultur krenker pÃ¥ eksklusive rett er copyright. Hvis " +"du vil digitalisere en bok er Ã¥ kopiere den. Hvis du vil gjøre som krever " +"tillatelse fra eieren av opphavsretten. det samme med musikk, film eller " +"noen andre aspekter av vÃ¥r kultur som er beskyttet av opphavsrett. innsatsen " +"for Ã¥ gjøre disse tingene tilgjengelig til historien, forskere, eller til de " +"som ønsker Ã¥ utforske, er nÃ¥ inhibited med et sett med regler som ble " +"skrevet for en radikalt annen sammenheng." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Here is the core of the harm that comes from extending terms: Now that " +"technology enables us to rebuild the library of Alexandria, the law gets in " +"the way. And it doesn't get in the way for any useful copyright purpose, for " +"the purpose of copyright is to enable the commercial market that spreads " +"culture. No, we are talking about culture after it has lived its commercial " +"life. In this context, copyright is serving no purpose at all related to the " +"spread of knowledge. In this context, copyright is not an engine of free " +"expression. Copyright is a brake." +msgstr "" +"Her er kjernen av skade kommer fra utvide vilkÃ¥r: nÃ¥ som teknologi gjør det " +"mulig for oss Ã¥ gjenoppbygge biblioteket i alexandria, loven kommer i veien. " +"og det ikke komme i veien for nyttig opphavsrett formÃ¥l, med det formÃ¥l Ã¥ " +"copyright er Ã¥ aktivere det kommersielle markedet som sprer kultur. Nei, vi " +"snakker om kultur etter at det har bodd sin kommersiell levetid. i denne " +"sammenhengen er copyright serverer ingen formÃ¥l pÃ¥ alle relatert til " +"spredning av kunnskap. i denne sammenheng er copyright ikke en motor gratis " +"uttrykksmÃ¥ter. Copyright er en brems." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"You may well ask, \"But if digital technologies lower the costs for Brewster " +"Kahle, then they will lower the costs for Random House, too. So won't " +"Random House do as well as Brewster Kahle in spreading culture widely?\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Maybe. Someday. But there is absolutely no evidence to suggest that " +"publishers would be as complete as libraries. If Barnes & Noble offered " +"to lend books from its stores for a low price, would that eliminate the need " +"for libraries? Only if you think that the only role of a library is to serve " +"what \"the market\" would demand. But if you think the role of a library is " +"bigger than this--if you think its role is to archive culture, whether " +"there's a demand for any particular bit of that culture or not--then we " +"can't count on the commercial market to do our library work for us." +msgstr "" + +#. f13. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Jason Schultz, \"The Myth of the 1976 Copyright `Chaos' Theory,\" 20 " +"December 2002, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #54</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I would be the first to agree that it should do as much as it can: We should " +"rely upon the market as much as possible to spread and enable culture. My " +"message is absolutely not antimarket. But where we see the market is not " +"doing the job, then we should allow nonmarket forces the freedom to fill the " +"gaps. As one researcher calculated for American culture, 94 percent of the " +"films, books, and music produced between and 1946 is not commercially " +"available. However much you love the commercial market, if access is a " +"value, then 6 percent is a failure to provide that value.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In January 1999, we filed a lawsuit on Eric Eldred's behalf in federal " +"district court in Washington, D.C., asking the court to declare the Sonny " +"Bono Copyright Term Extension Act unconstitutional. The two central claims " +"that we made were (1) that extending existing terms violated the " +"Constitution's \"limited Times\" requirement, and (2) that extending terms " +"by another twenty years violated the First Amendment." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The district court dismissed our claims without even hearing an argument. A " +"panel of the Court of Appeals for the D.C. Circuit also dismissed our " +"claims, though after hearing an extensive argument. But that decision at " +"least had a dissent, by one of the most conservative judges on that court. " +"That dissent gave our claims life." +msgstr "" +"district court avvist pÃ¥stander om vÃ¥re uten Ã¥ selv høre et argument. et " +"panel av court of appeals for DC-kretsen ogsÃ¥ oppsagt vÃ¥re krav, men etter " +"høre et omfattende argument. men at beslutningen hadde minst en dissens, av " +"en av de mest konservative dommerne pÃ¥ at domstolen. at ga dissens livet " +"vÃ¥rt krav." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Judge David Sentelle said the CTEA violated the requirement that copyrights " +"be for \"limited Times\" only. His argument was as elegant as it was simple: " +"If Congress can extend existing terms, then there is no \"stopping point\" " +"to Congress's power under the Copyright Clause. The power to extend existing " +"terms means Congress is not required to grant terms that are \"limited.\" " +"Thus, Judge Sentelle argued, the court had to interpret the term \"limited " +"Times\" to give it meaning. And the best interpretation, Judge Sentelle " +"argued, would be to deny Congress the power to extend existing terms." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We asked the Court of Appeals for the D.C. Circuit as a whole to hear the " +"case. Cases are ordinarily heard in panels of three, except for important " +"cases or cases that raise issues specific to the circuit as a whole, where " +"the court will sit \"en banc\" to hear the case." +msgstr "" + +#. PAGE BREAK 236 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Court of Appeals rejected our request to hear the case en banc. This " +"time, Judge Sentelle was joined by the most liberal member of the D.C. " +"Circuit, Judge David Tatel. Both the most conservative and the most liberal " +"judges in the D.C. Circuit believed Congress had overstepped its bounds." +msgstr "" +"lagmannsrett avvist vÃ¥r anmodning om Ã¥ høre case no banc. Denne gangen " +"vurdere sentelle ble med seg mest liberale medlem av DC-krets, bedømme david " +"tatel. bÃ¥de den mest konservative og mest liberale dommere i DC-krets mente " +"Kongressen hadde overstepped sin grensene." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It was here that most expected Eldred v. Ashcroft would die, for the Supreme " +"Court rarely reviews any decision by a court of appeals. (It hears about one " +"hundred cases a year, out of more than five thousand appeals.) And it " +"practically never reviews a decision that upholds a statute when no other " +"court has yet reviewed the statute." +msgstr "" +"Det var her at de fleste forventet eldred v. ashcroft ville dø, for " +"Høyesterett vurderinger sjelden noen avgjørelse av en domstol i appeller. " +"(det hører rundt hundre tilfeller et Ã¥r, ut av mer enn fem tusen appeller.) " +"og det praktisk talt aldri vurderinger en beslutning som opprettholder en " +"vedtekt nÃ¥r ingen andre domstolen har gjennomgÃ¥tt vedtektene." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But in February 2002, the Supreme Court surprised the world by granting our " +"petition to review the D.C. Circuit opinion. Argument was set for October of " +"2002. The summer would be spent writing briefs and preparing for argument." +msgstr "" +"men i februar 2002, Høyesterett overrasket verden ved Ã¥ gi vÃ¥r " +"underskriftskampanje for Ã¥ gÃ¥ gjennom DC krets oppfatning. argumentet ble " +"satt for oktober 2002. sommeren ville være utbrent skrive truser og " +"forberede for argumentet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It is over a year later as I write these words. It is still astonishingly " +"hard. If you know anything at all about this story, you know that we lost " +"the appeal. And if you know something more than just the minimum, you " +"probably think there was no way this case could have been won. After our " +"defeat, I received literally thousands of missives by well-wishers and " +"supporters, thanking me for my work on behalf of this noble but doomed " +"cause. And none from this pile was more significant to me than the e-mail " +"from my client, Eric Eldred." +msgstr "" +"Det er over et Ã¥r senere som jeg skriver disse ordene. Det er fortsatt " +"astonishingly vanskelig. Hvis du vet noe om denne historien, vet du at vi " +"mistet appell. og hvis du vet noe mer enn bare minste, du tror sannsynligvis " +"det var ingen mÃ¥te dette tilfellet kunne ha blitt vunnet. etter vÃ¥rt " +"nederlag fikk jeg bokstavelig talt tusenvis av missives ved godt wishers og " +"støttespillere, takke meg for mitt arbeid pÃ¥ vegne av denne edle men dømt " +"Ã¥rsaken. og ingen fra jordhaugen var mer betydelig for meg enn e-post fra " +"min klient, eric eldred." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But my client and these friends were wrong. This case could have been won. " +"It should have been won. And no matter how hard I try to retell this story " +"to myself, I can never escape believing that my own mistake lost it." +msgstr "" +"men min klient og disse venner var galt. denne saken kunne ha blitt vunnet. " +"Det burde ha blitt vunnet. og uansett hvor hardt jeg prøver Ã¥ retell denne " +"historien til meg selv, jeg kan aldri unnslippe Ã¥ tro at min egen feil " +"mistet den." + +#. PAGE BREAK 237 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The mistake was made early, though it became obvious only at the very end. " +"Our case had been supported from the very beginning by an extraordinary " +"lawyer, Geoffrey Stewart, and by the law firm he had moved to, Jones, Day, " +"Reavis and Pogue. Jones Day took a great deal of heat from its copyright-" +"protectionist clients for supporting us. They ignored this pressure " +"(something that few law firms today would ever do), and throughout the case, " +"they gave it everything they could." +msgstr "" +"feil ble gjort tidlig, skjønt det ble Ã¥penbart bare pÃ¥ til slutten. vÃ¥rt " +"tilfelle hadde vært støttes helt fra begynnelsen av en ekstraordinære " +"advokat, geoffrey stewart, og ved advokatfirmaet hadde han flyttet til " +"jones, dag, reavis og pogue. Jones dag tok mye varme fra klientene copyright-" +"protectionist for Ã¥ støtte oss. de ignorert dette presset (noe som noen " +"advokatfirmaer i dag ville gjøre), og i hele saken, de ga det alt de kunne." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"There were three key lawyers on the case from Jones Day. Geoff Stewart was " +"the first, but then Dan Bromberg and Don Ayer became quite involved. " +"Bromberg and Ayer in particular had a common view about how this case would " +"be won: We would only win, they repeatedly told me, if we could make the " +"issue seem \"important\" to the Supreme Court. It had to seem as if dramatic " +"harm were being done to free speech and free culture; otherwise, they would " +"never vote against \"the most powerful media companies in the world.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I hate this view of the law. Of course I thought the Sonny Bono Act was a " +"dramatic harm to free speech and free culture. Of course I still think it " +"is. But the idea that the Supreme Court decides the law based on how " +"important they believe the issues are is just wrong. It might be \"right\" " +"as in \"true,\" I thought, but it is \"wrong\" as in \"it just shouldn't be " +"that way.\" As I believed that any faithful interpretation of what the " +"framers of our Constitution did would yield the conclusion that the CTEA was " +"unconstitutional, and as I believed that any faithful interpretation of what " +"the First Amendment means would yield the conclusion that the power to " +"extend existing copyright terms is unconstitutional, I was not persuaded " +"that we had to sell our case like soap. Just as a law that bans the " +"swastika is unconstitutional not because the Court likes Nazis but because " +"such a law would violate the Constitution, so too, in my view, would the " +"Court decide whether Congress's law was constitutional based on the " +"Constitution, not based on whether they liked the values that the framers " +"put in the Constitution." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In any case, I thought, the Court must already see the danger and the harm " +"caused by this sort of law. Why else would they grant review? There was no " +"reason to hear the case in the Supreme Court if they weren't convinced that " +"this regulation was harmful. So in my view, we didn't need to persuade them " +"that this law was bad, we needed to show why it was unconstitutional." +msgstr "" +"Uansett, jeg tenkte, domstolen mÃ¥ allerede se faren og skade som skyldes " +"denne typen lov. Hvorfor ville de gir gjennomgang? Det var ingen grunn Ã¥ " +"høre tilfelle i Høyesterett hvis de ikke var overbevist om at denne " +"reguleringen var skadelig. sÃ¥ etter min mening, vi ikke trenger Ã¥ overtale " +"dem at denne loven var ille, vi trengte Ã¥ vise hvorfor det var " +"forfatningsstridig." + +#. PAGE BREAK 238 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"There was one way, however, in which I felt politics would matter and in " +"which I thought a response was appropriate. I was convinced that the Court " +"would not hear our arguments if it thought these were just the arguments of " +"a group of lefty loons. This Supreme Court was not about to launch into a " +"new field of judicial review if it seemed that this field of review was " +"simply the preference of a small political minority. Although my focus in " +"the case was not to demonstrate how bad the Sonny Bono Act was but to " +"demonstrate that it was unconstitutional, my hope was to make this argument " +"against a background of briefs that covered the full range of political " +"views. To show that this claim against the CTEA was grounded in law and not " +"politics, then, we tried to gather the widest range of credible critics--" +"credible not because they were rich and famous, but because they, in the " +"aggregate, demonstrated that this law was unconstitutional regardless of " +"one's politics." +msgstr "" +"Det var en 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 " +"argumenter Hvis det trodde disse var bare argumentene i en gruppe av lefty " +"loons. Denne Høyesterett var ikke om Ã¥ lansere i et nytt felt med juridisk " +"vurdering Hvis det syntes at dette feltet av nytt var bare preferanse av et " +"lite politisk mindretall. Selv om mitt fokus i tilfelle var ikke til Ã¥ " +"demonstrere hvor ille sonny bono handle var, men for Ã¥ demonstrere at det " +"var forfatningsstridig, mitt hÃ¥p var Ã¥ gjøre dette argumentet mot et " +"bakteppe av truser som dekket hele spekteret av politiske synspunkter. Ã¥ " +"vise at denne pÃ¥standen mot ctea ble jordet i loven og ikke politikk, sÃ¥ vi " +"prøvde Ã¥ samle sÃ¥ mange søkeordresultater troverdig kritikere--troverdig " +"ikke fordi de var rike og berømte, men fordi de, i samlet, vist at denne " +"loven var forfatningsstridig uavhengig av ens politikk." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The first step happened all by itself. Phyllis Schlafly's organization, " +"Eagle Forum, had been an opponent of the CTEA from the very beginning. Mrs. " +"Schlafly viewed the CTEA as a sellout by Congress. In November 1998, she " +"wrote a stinging editorial attacking the Republican Congress for allowing " +"the law to pass. As she wrote, \"Do you sometimes wonder why bills that " +"create a financial windfall to narrow special interests slide easily through " +"the intricate legislative process, while bills that benefit the general " +"public seem to get bogged down?\" The answer, as the editorial documented, " +"was the power of money. Schlafly enumerated Disney's contributions to the " +"key players on the committees. It was money, not justice, that gave Mickey " +"Mouse twenty more years in Disney's control, Schlafly argued." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In the Court of Appeals, Eagle Forum was eager to file a brief supporting " +"our position. Their brief made the argument that became the core claim in " +"the Supreme Court: If Congress can extend the term of existing copyrights, " +"there is no limit to Congress's power to set terms. That strong " +"conservative argument persuaded a strong conservative judge, Judge Sentelle." +msgstr "" +"i lagmannsrett var eagle forum ivrig etter Ã¥ inngi en kort som støtter vÃ¥r " +"posisjon. sine kort gjort argumentet om at ble kjernen kravet i Høyesterett: " +"Hvis Kongressen kan forlenge eksisterende opphavsrettigheter, det er ingen " +"grense for Kongressens makt til Ã¥ angi vilkÃ¥r. som sterkt konservativ " +"argumentet overtalt en sterk konservative dommer, dommer sentelle." + +#. PAGE BREAK 239 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In the Supreme Court, the briefs on our side were about as diverse as it " +"gets. They included an extraordinary historical brief by the Free Software " +"Foundation (home of the GNU project that made GNU/ Linux possible). They " +"included a powerful brief about the costs of uncertainty by Intel. There " +"were two law professors' briefs, one by copyright scholars and one by First " +"Amendment scholars. There was an exhaustive and uncontroverted brief by the " +"world's experts in the history of the Progress Clause. And of course, there " +"was a new brief by Eagle Forum, repeating and strengthening its arguments." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Those briefs framed a legal argument. Then to support the legal argument, " +"there were a number of powerful briefs by libraries and archives, including " +"the Internet Archive, the American Association of Law Libraries, and the " +"National Writers Union." +msgstr "" +"disse truser innrammet et juridisk argument. deretter for Ã¥ støtte " +"argumentet juridiske, var det en rekke kraftige truser av biblioteker og " +"arkiver, inkludert internet archive, american association av loven " +"biblioteker og den nasjonale forfattere unionen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But two briefs captured the policy argument best. One made the argument I've " +"already described: A brief by Hal Roach Studios argued that unless the law " +"was struck, a whole generation of American film would disappear. The other " +"made the economic argument absolutely clear." +msgstr "" +"men to truser fanget argumentet policyen best. en gjort argumentet jeg har " +"allerede beskrevet: en kort av hal mort studios hevdet at med mindre loven " +"ble truffet, en hel generasjon av american film ville forsvinne. den andre " +"gjort argumentet økonomiske helt klart." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This economists' brief was signed by seventeen economists, including five " +"Nobel Prize winners, including Ronald Coase, James Buchanan, Milton " +"Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list of " +"Nobel winners demonstrates, spanned the political spectrum. Their " +"conclusions were powerful: There was no plausible claim that extending the " +"terms of existing copyrights would do anything to increase incentives to " +"create. Such extensions were nothing more than \"rent-seeking\"--the fancy " +"term economists use to describe special-interest legislation gone wild." +msgstr "" + +#. PAGE BREAK 240 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The same effort at balance was reflected in the legal team we gathered to " +"write our briefs in the case. The Jones Day lawyers had been with us from " +"the start. But when the case got to the Supreme Court, we added three " +"lawyers to help us frame this argument to this Court: Alan Morrison, a " +"lawyer from Public Citizen, a Washington group that had made constitutional " +"history with a series of seminal victories in the Supreme Court defending " +"individual rights; my colleague and dean, Kathleen Sullivan, who had argued " +"many cases in the Court, and who had advised us early on about a First " +"Amendment strategy; and finally, former solicitor general Charles Fried." +msgstr "" +"samme innsats pÃ¥ balanse ble reflektert i det juridiske teamet vi samles for " +"Ã¥ skrive vÃ¥re truser i tilfelle. jones dag advokater hadde blitt med oss fra " +"starten. men da saken kom til Høyesterett, vi har lagt tre advokater for Ã¥ " +"hjelpe oss ramme dette argumentet til denne retten: alan morrison, en " +"advokat fra offentlige borger, en washington gruppe som hadde gjort " +"konstitusjonelle historie med en rekke banebrytende seire i Høyesterett " +"forsvare rettigheter; Min kollega og dean, kathleen sullivan, som hadde " +"hevdet mange tilfeller i domstol, og som hadde informert oss tidlig om en " +"første endring strategi; og endelig, tidligere advokat general charles stekt." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Fried was a special victory for our side. Every other former solicitor " +"general was hired by the other side to defend Congress's power to give media " +"companies the special favor of extended copyright terms. Fried was the only " +"one who turned down that lucrative assignment to stand up for something he " +"believed in. He had been Ronald Reagan's chief lawyer in the Supreme Court. " +"He had helped craft the line of cases that limited Congress's power in the " +"context of the Commerce Clause. And while he had argued many positions in " +"the Supreme Court that I personally disagreed with, his joining the cause " +"was a vote of confidence in our argument." +msgstr "" +"stekt var en spesiell seier for vÃ¥r side. hver andre tidligere advokat " +"generelt ble ansatt av den andre siden, Ã¥ forsvare congress's kraft til Ã¥ gi " +"medieselskaper spesiell gunst utvidet opphavsrett vilkÃ¥rene. stekt var den " +"eneste som slÃ¥tt ned lukrative tildelingen til Ã¥ stÃ¥ opp for noe han mente " +"i. han hadde vært ronald reagan's sjef advokat i Høyesterett. Han hadde " +"bidratt til Ã¥ skape linjen i tilfeller som begrenset Kongressens makt i " +"forbindelse med handel-setningsdel. og mens han hadde hevdet mange " +"posisjoner i Høyesterett som jeg personlig uenige med, hans begynte Ã¥rsaken " +"var en stemme av tilliten i vÃ¥r argumentet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The government, in defending the statute, had its collection of friends, as " +"well. Significantly, however, none of these \"friends\" included historians " +"or economists. The briefs on the other side of the case were written " +"exclusively by major media companies, congressmen, and copyright holders." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The media companies were not surprising. They had the most to gain from the " +"law. The congressmen were not surprising either--they were defending their " +"power and, indirectly, the gravy train of contributions such power induced. " +"And of course it was not surprising that the copyright holders would defend " +"the idea that they should continue to have the right to control who did what " +"with content they wanted to control." +msgstr "" +"media selskapene var ikke overraskende. de har mest Ã¥ tjene pÃ¥ loven. " +"congressmen var ikke overraskende enten--de var Ã¥ forsvare sin makt, og " +"indirekte, Kjøttsaft tog av bidrag slik makt indusert. og selvfølgelig var " +"det ikke overraskende at rettighetshavere ville forsvare ideen om at de bør " +"fortsette Ã¥ ha rett til Ã¥ kontrollere hvem som gjorde hva med innhold de " +"ønsket Ã¥ kontroll." + +#. f14. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Brief of Amici Dr. Seuss Enterprise et al., Eldred v. Ashcroft, 537 U.S. " +"(2003) (No. 01-618), 19." +msgstr "" +"kort av gikk dr. seuss enterprise et al., eldred v. ashcroft, 537 " +"amerikanske (2003) (nr 01-618), 19." + +#. f15. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +msgid "" +"Dinitia Smith, \"Immortal Words, Immortal Royalties? Even Mickey Mouse Joins " +"the Fray,\" New York Times, 28 March 1998, B7." +msgstr "" + +#. PAGE BREAK 241 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Dr. Seuss's representatives, for example, argued that it was better for the " +"Dr. Seuss estate to control what happened to Dr. Seuss's work-- better than " +"allowing it to fall into the public domain--because if this creativity were " +"in the public domain, then people could use it to \"glorify drugs or to " +"create pornography.\"<placeholder type=\"footnote\" id=\"0\"/> That was also " +"the motive of the Gershwin estate, which defended its \"protection\" of the " +"work of George Gershwin. They refuse, for example, to license Porgy and Bess " +"to anyone who refuses to use African Americans in the cast.<placeholder type=" +"\"footnote\" id=\"1\"/> That's their view of how this part of American " +"culture should be controlled, and they wanted this law to help them effect " +"that control." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This argument made clear a theme that is rarely noticed in this debate. " +"When Congress decides to extend the term of existing copyrights, Congress is " +"making a choice about which speakers it will favor. Famous and beloved " +"copyright owners, such as the Gershwin estate and Dr. Seuss, come to " +"Congress and say, \"Give us twenty years to control the speech about these " +"icons of American culture. We'll do better with them than anyone else.\" " +"Congress of course likes to reward the popular and famous by giving them " +"what they want. But when Congress gives people an exclusive right to speak " +"in a certain way, that's just what the First Amendment is traditionally " +"meant to block." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We argued as much in a final brief. Not only would upholding the CTEA mean " +"that there was no limit to the power of Congress to extend copyrights--" +"extensions that would further concentrate the market; it would also mean " +"that there was no limit to Congress's power to play favorites, through " +"copyright, with who has the right to speak. Between February and October, " +"there was little I did beyond preparing for this case. Early on, as I said, " +"I set the strategy." +msgstr "" +"Vi hevdet sÃ¥ mye i en endelige kort. ikke bare vil opprettholde ctea bety at " +"det var ingen grense for strøm av Kongressen for Ã¥ forlenge opphavsrett--" +"utvidelser som ytterligere konsentrere seg markedet; det vil ogsÃ¥ bety at " +"det var ingen grense congress's kraft til Ã¥ spille favoritter, gjennom " +"opphavsrett, med som har rett til Ã¥ snakke. mellom februar og oktober var " +"det lite jeg gjorde utover forbereder for denne saken. tidlig som jeg sa, " +"satt jeg strategien." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Supreme Court was divided into two important camps. One camp we called " +"\"the Conservatives.\" The other we called \"the Rest.\" The Conservatives " +"included Chief Justice Rehnquist, Justice O'Connor, Justice Scalia, Justice " +"Kennedy, and Justice Thomas. These five had been the most consistent in " +"limiting Congress's power. They were the five who had supported the Lopez/" +"Morrison line of cases that said that an enumerated power had to be " +"interpreted to assure that Congress's powers had limits." +msgstr "" + +#. PAGE BREAK 242 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Rest were the four Justices who had strongly opposed limits on " +"Congress's power. These four--Justice Stevens, Justice Souter, Justice " +"Ginsburg, and Justice Breyer--had repeatedly argued that the Constitution " +"gives Congress broad discretion to decide how best to implement its powers. " +"In case after case, these justices had argued that the Court's role should " +"be one of deference. Though the votes of these four justices were the votes " +"that I personally had most consistently agreed with, they were also the " +"votes that we were least likely to get." +msgstr "" +"resten var fire justiariusene som hadde sterkt imot begrensninger pÃ¥ " +"Kongressens makt. disse fire--rettferdighet stevens, rettferdighet souter, " +"rettferdighet ginsburg og rettferdighet breyer--hadde gjentatte ganger " +"hevdet at grunnloven gir Kongressen bred skjønn Ã¥ bestemme hvordan du best Ã¥ " +"implementere sin myndighet. i sak etter sak, hadde disse to andre " +"justiariusene hevdet at retten rolle bør være en av deference. om stemmene " +"til disse fire justiariusene var stemmene som jeg personlig hadde mest " +"konsekvent avtalt med, var de ogsÃ¥ stemmene som vi var minst sannsynlig Ã¥ fÃ¥." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In particular, the least likely was Justice Ginsburg's. In addition to her " +"general view about deference to Congress (except where issues of gender are " +"involved), she had been particularly deferential in the context of " +"intellectual property protections. She and her daughter (an excellent and " +"well-known intellectual property scholar) were cut from the same " +"intellectual property cloth. We expected she would agree with the writings " +"of her daughter: that Congress had the power in this context to do as it " +"wished, even if what Congress wished made little sense." +msgstr "" +"spesielt var minst sannsynlig rettferdighet ginsburg. i tillegg til hennes " +"Generelt-visningen om deference Kongressen (unntatt der utgaver av kjønn er " +"involvert), hadde hun vært spesielt deferential i forbindelse med " +"beskyttelse av intellektuell eiendom. Hun og hennes datter (en glimrende og " +"velkjente immaterielle scholar) ble kuttet fra samme immaterielle klut. vi " +"ventet Hun vil være enig med skriftene til datteren: at Kongressen hadde " +"makt i denne sammenheng Ã¥ gjøre som det ønsket, selv om hva Kongressen " +"ønsket gjort lite fornuftig." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Close behind Justice Ginsburg were two justices whom we also viewed as " +"unlikely allies, though possible surprises. Justice Souter strongly favored " +"deference to Congress, as did Justice Breyer. But both were also very " +"sensitive to free speech concerns. And as we strongly believed, there was a " +"very important free speech argument against these retrospective extensions." +msgstr "" +"Lukk bak rettferdighet ginsburg var to justiariusene hvem vi ogsÃ¥ sett pÃ¥ " +"som usannsynlig allierte, om mulig overraskelser. rettferdighet souter " +"favoriserte sterkt deference Kongressen, som gjorde rettferdighet breyer. " +"men begge var ogsÃ¥ svært sensitive til ytringsfriheten bekymringer. og som " +"vi sterkt mente, det var en svært viktig ytringsfriheten argument mot disse " +"retrospektiv utvidelser." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The only vote we could be confident about was that of Justice Stevens. " +"History will record Justice Stevens as one of the greatest judges on this " +"Court. His votes are consistently eclectic, which just means that no simple " +"ideology explains where he will stand. But he had consistently argued for " +"limits in the context of intellectual property generally. We were fairly " +"confident he would recognize limits here." +msgstr "" +"den eneste stemme som vi kan være trygg pÃ¥ var at for rettferdighet stevens. " +"historie registrerer rettferdighet stevens som en av de største dommerne pÃ¥ " +"denne retten. hans stemmer er konsekvent variert, som betyr bare at ingen " +"enkel ideologi forklarer hvor han vil stÃ¥. men han hadde konsekvent " +"argumentert for grenser i forbindelse med immaterielle generelt. Vi var " +"ganske trygg pÃ¥ han ville anerkjenne grenser her." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This analysis of \"the Rest\" showed most clearly where our focus had to be: " +"on the Conservatives. To win this case, we had to crack open these five and " +"get at least a majority to go our way. Thus, the single overriding argument " +"that animated our claim rested on the Conservatives' most important " +"jurisprudential innovation--the argument that Judge Sentelle had relied upon " +"in the Court of Appeals, that Congress's power must be interpreted so that " +"its enumerated powers have limits." +msgstr "" + +#. PAGE BREAK 243 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This then was the core of our strategy--a strategy for which I am " +"responsible. We would get the Court to see that just as with the Lopez case, " +"under the government's argument here, Congress would always have unlimited " +"power to extend existing terms. If anything was plain about Congress's power " +"under the Progress Clause, it was that this power was supposed to be " +"\"limited.\" Our aim would be to get the Court to reconcile Eldred with " +"Lopez: If Congress's power to regulate commerce was limited, then so, too, " +"must Congress's power to regulate copyright be limited." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The argument on the government's side came down to this: Congress has done " +"it before. It should be allowed to do it again. The government claimed that " +"from the very beginning, Congress has been extending the term of existing " +"copyrights. So, the government argued, the Court should not now say that " +"practice is unconstitutional." +msgstr "" +"argumentet pÃ¥ regjeringens side kom ned til dette: Kongressen har gjort det " +"før. det skal være tillatt Ã¥ gjøre det igjen. regjeringen hevdet at helt fra " +"starten, Kongressen har blitt utvidelse av eksisterende opphavsrettigheter. " +"sÃ¥ regjeringen hevdet, domstolen bør ikke nÃ¥ si at praksis er " +"unconstitutional." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"There was some truth to the government's claim, but not much. We certainly " +"agreed that Congress had extended existing terms in and in 1909. And of " +"course, in 1962, Congress began extending existing terms regularly--eleven " +"times in forty years." +msgstr "" +"Det var noen sannhet til regjeringens krav, men ikke mye. Vi absolutt avtalt " +"at Kongressen hadde utvidet eksisterende vilkÃ¥rene i og i 1909. og " +"selvfølgelig, i 1962, Kongressen begynte utvide eksisterende regelmessig--" +"betingelser elleve ganger i førti Ã¥r." + +#. PAGE BREAK 244 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But this \"consistency\" should be kept in perspective. Congress extended " +"existing terms once in the first hundred years of the Republic. It then " +"extended existing terms once again in the next fifty. Those rare extensions " +"are in contrast to the now regular practice of extending existing terms. " +"Whatever restraint Congress had had in the past, that restraint was now " +"gone. Congress was now in a cycle of extensions; there was no reason to " +"expect that cycle would end. This Court had not hesitated to intervene where " +"Congress was in a similar cycle of extension. There was no reason it " +"couldn't intervene here. Oral argument was scheduled for the first week in " +"October. I arrived in D.C. two weeks before the argument. During those two " +"weeks, I was repeatedly \"mooted\" by lawyers who had volunteered to help in " +"the case. Such \"moots\" are basically practice rounds, where wannabe " +"justices fire questions at wannabe winners." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I was convinced that to win, I had to keep the Court focused on a single " +"point: that if this extension is permitted, then there is no limit to the " +"power to set terms. Going with the government would mean that terms would be " +"effectively unlimited; going with us would give Congress a clear line to " +"follow: Don't extend existing terms. The moots were an effective practice; I " +"found ways to take every question back to this central idea." +msgstr "" +"Jeg var overbevist om at for Ã¥ vinne, jeg mÃ¥tte holde domstolen fokusert pÃ¥ " +"et enkelt punkt: at hvis denne utvidelsen er tillatt, sÃ¥ det er ingen grense " +"makt til Ã¥ angi vilkÃ¥r. Going med regjeringen ville bety at vilkÃ¥rene vil " +"være effektivt ubegrenset; Going med oss ville gi Kongressen en klar linje Ã¥ " +"følge: ikke utvide eksisterende vilkÃ¥r. moots var en effektiv praksis, Jeg " +"har funnet mÃ¥ter Ã¥ ta alle spørsmÃ¥l tilbake til dette sentrale ideen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"One moot was before the lawyers at Jones Day. Don Ayer was the skeptic. He " +"had served in the Reagan Justice Department with Solicitor General Charles " +"Fried. He had argued many cases before the Supreme Court. And in his review " +"of the moot, he let his concern speak:" +msgstr "" +"en moot var før jurister pÃ¥ jones dag. Don ayer var skeptisk. Han " +"tjenestegjorde i Justisdepartementet reagan med advokat general charles " +"stekt. Han hadde hevdet mange tilfeller før Høyesterett. og han la sin " +"bekymring snakke i sin anmeldelse av moot:" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"\"I'm just afraid that unless they really see the harm, they won't be " +"willing to upset this practice that the government says has been a " +"consistent practice for two hundred years. You have to make them see the " +"harm--passionately get them to see the harm. For if they don't see that, " +"then we haven't any chance of winning.\"" +msgstr "" + +#. PAGE BREAK 245 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"He may have argued many cases before this Court, I thought, but he didn't " +"understand its soul. As a clerk, I had seen the Justices do the right thing--" +"not because of politics but because it was right. As a law professor, I had " +"spent my life teaching my students that this Court does the right thing--not " +"because of politics but because it is right. As I listened to Ayer's plea " +"for passion in pressing politics, I understood his point, and I rejected it. " +"Our argument was right. That was enough. Let the politicians learn to see " +"that it was also good. The night before the argument, a line of people " +"began to form in front of the Supreme Court. The case had become a focus of " +"the press and of the movement to free culture. Hundreds stood in line for " +"the chance to see the proceedings. Scores spent the night on the Supreme " +"Court steps so that they would be assured a seat." +msgstr "" +"han kanskje har hevdet mange tilfeller før denne retten, jeg tenkte, men han " +"forstod ikke sin sjel. Jeg hadde sett justiariusene gjøre rette--ikke pÃ¥ " +"grunn av politikk som en kontorist, men fordi det var rett. Jeg hadde " +"tilbrakt livet undervise elevene mine at denne retten gjør rette--ikke pÃ¥ " +"grunn av politikk som en lov professor, men fordi det er riktig. da jeg " +"lyttet til ayer's pÃ¥stand om lidenskap i presserende politikk, jeg forsto " +"hans punkt, og jeg avviste den. VÃ¥rt argument var rett. Det var nok. La " +"politikerne lære Ã¥ se at det var ogsÃ¥ god. natten før argumentet, en linje " +"av mennesker begynte Ã¥ form foran Høyesterett. saken hadde blitt et fokus av " +"pressen og bevegelse for fri kultur. hundrevis sto i kø for sjansen til Ã¥ se " +"proceedings. score tilbragte natten pÃ¥ Høyesterett trinnene slik at de ville " +"være trygg pÃ¥ et sete." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Not everyone has to wait in line. People who know the Justices can ask for " +"seats they control. (I asked Justice Scalia's chambers for seats for my " +"parents, for example.) Members of the Supreme Court bar can get a seat in a " +"special section reserved for them. And senators and congressmen have a " +"special place where they get to sit, too. And finally, of course, the press " +"has a gallery, as do clerks working for the Justices on the Court. As we " +"entered that morning, there was no place that was not taken. This was an " +"argument about intellectual property law, yet the halls were filled. As I " +"walked in to take my seat at the front of the Court, I saw my parents " +"sitting on the left. As I sat down at the table, I saw Jack Valenti sitting " +"in the special section ordinarily reserved for family of the Justices." +msgstr "" +"ikke alle har til Ã¥ vente pÃ¥ linjen. folk som vet de to andre justiariusene " +"kan be om seter de kontroll. (jeg spurte rettferdighet scalia kamre for " +"plasser for mine foreldre, for eksempel.) medlemmer av Høyesterett baren kan " +"fÃ¥ et sete i en spesiell del reservert for dem. og senators og congressmen " +"har et spesielt sted hvor de fÃ¥r Ã¥ sitte, ogsÃ¥. og til slutt, selvfølgelig, " +"pressen har et galleri som gjør clerks som jobber for de to andre " +"justiariusene pÃ¥ domstol. som vi har angitt den morgenen, var det ikke noe " +"sted som ikke ble tatt. Dette var et argument om lovgivning for " +"immaterielle, men hallene var fylt. sÃ¥ jeg gikk i Ã¥ ta min plass pÃ¥ forsiden " +"av retten, sÃ¥ jeg mine foreldre som sitter til venstre. som jeg satte meg " +"ned ved bordet, sÃ¥ jeg jack valenti sitter i delen spesielle vanligvis " +"forbeholdt familie av de to andre justiariusene." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When the Chief Justice called me to begin my argument, I began where I " +"intended to stay: on the question of the limits on Congress's power. This " +"was a case about enumerated powers, I said, and whether those enumerated " +"powers had any limit." +msgstr "" +"NÃ¥r justisministeren ringte meg Ã¥ starte mitt argument, jeg begynte hvor jeg " +"skal bo: pÃ¥ spørsmÃ¥let om begrensninger pÃ¥ Kongressens makt. Dette var en " +"sak om nummerert kreftene, jeg sa, og om de nummerert kreftene hadde noen " +"grense." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Justice O'Connor stopped me within one minute of my opening. The history " +"was bothering her." +msgstr "" +"rettferdighet o'connor stoppet meg ett minutts min Ã¥pning. historien var " +"plaget henne." + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"justice o'connor: Congress has extended the term so often through the years, " +"and if you are right, don't we run the risk of upsetting previous extensions " +"of time? I mean, this seems to be a practice that began with the very first " +"act." +msgstr "" +"rettferdighet o'connor: Kongressen har utvidet begrepet sÃ¥ ofte gjennom " +"Ã¥rene, og hvis du har rett, ikke vi kjøre risikoen for upsetting tidligere " +"utvidelser av tid? Jeg mener, dette synes Ã¥ være en praksis som begynte med " +"svært første akt." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"She was quite willing to concede \"that this flies directly in the face of " +"what the framers had in mind.\" But my response again and again was to " +"emphasize limits on Congress's power." +msgstr "" + +#. PAGE BREAK 246 +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"mr. lessig: Well, if it flies in the face of what the framers had in mind, " +"then the question is, is there a way of interpreting their words that gives " +"effect to what they had in mind, and the answer is yes." +msgstr "" +"Mr. lessig: Vel, hvis det flyr i ansiktet av hva underskrev hadde i tankene, " +"sÃ¥ spørsmÃ¥let er, er det en mÃ¥te Ã¥ tolke sine ord som gir kraft til hva de " +"hadde i tankene, og svaret er Ja." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"There were two points in this argument when I should have seen where the " +"Court was going. The first was a question by Justice Kennedy, who observed," +msgstr "" +"Det var to poeng i dette argumentet nÃ¥r jeg burde ha sett hvor domstolen " +"skulle. Først var et spørsmÃ¥l av rettferdighet kennedy, som observert," + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"justice kennedy: Well, I suppose implicit in the argument that the '76 act, " +"too, should have been declared void, and that we might leave it alone " +"because of the disruption, is that for all these years the act has impeded " +"progress in science and the useful arts. I just don't see any empirical " +"evidence for that." +msgstr "" +"rettferdighet kennedy: Vel, jeg antar implisitt i argumentet at ' 76-loven, " +"ogsÃ¥, bør har blitt gjort ugyldige, og at vi kan la det være pÃ¥ grunn av " +"avbrudd, er som for alle disse Ã¥rene loven har hindret fremgang i vitenskap " +"og nyttig kunst. Jeg ser ikke noen empiriske bevis for dette." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Here follows my clear mistake. Like a professor correcting a student, I " +"answered," +msgstr "" +"Her følger min klart feil. som professor korrigere en student, svarte jeg," + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"mr. lessig: Justice, we are not making an empirical claim at all. Nothing " +"in our Copyright Clause claim hangs upon the empirical assertion about " +"impeding progress. Our only argument is this is a structural limit necessary " +"to assure that what would be an effectively perpetual term not be permitted " +"under the copyright laws." +msgstr "" +"Mr. lessig: rettferdighet, vi ikke gjør en empirisk krav pÃ¥ alle. ingenting " +"i vÃ¥re opphavsrett-setningsdel krav henger pÃ¥ empirisk pÃ¥standen om hindrer " +"fremdrift. vÃ¥r eneste argumentet er at dette er en strukturell begrensning " +"som er nødvendig for Ã¥ sikre at det ville være et effektivt evigvarende sikt " +"ikke tillates under lover om opphavsrett." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"That was a correct answer, but it wasn't the right answer. The right answer " +"was instead that there was an obvious and profound harm. Any number of " +"briefs had been written about it. He wanted to hear it. And here was the " +"place Don Ayer's advice should have mattered. This was a softball; my answer " +"was a swing and a miss." +msgstr "" +"Det var riktig svar, men det var ikke riktig svar. riktig svar var i stedet " +"at det var en opplagt og dyptgripende skade. en rekke truser hadde vært " +"skrevet om den. han ønsket Ã¥ høre den. og her var sted don ayer's rÃ¥d skal " +"ha mattered. Dette var en softball; mitt svar var en swing og en glipp." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The second came from the Chief, for whom the whole case had been crafted. " +"For the Chief Justice had crafted the Lopez ruling, and we hoped that he " +"would see this case as its second cousin." +msgstr "" +"andre kom fra sjefen, som hele saken hadde blitt utformet. for " +"justisministeren hadde utformet lopez avgjørelse, og vi hÃ¥pet at ville han " +"se denne saken som sin andre fetter." + +#. PAGE BREAK 247 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It was clear a second into his question that he wasn't at all sympathetic. " +"To him, we were a bunch of anarchists. As he asked:" +msgstr "" +"Det var klart en andre i sin spørsmÃ¥let at han ikke var pÃ¥ alle sympatisk. " +"til ham var vi en gjeng med anarkistene. sÃ¥ han spurte:" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"chief justice: Well, but you want more than that. You want the right to copy " +"verbatim other people's books, don't you?" +msgstr "" +"Chief justice: godt, men du ønsker mer enn som. du vil ha rett til Ã¥ kopiere " +"ordrett andres bøker, ikke du?" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"mr. lessig: We want the right to copy verbatim works that should be in the " +"public domain and would be in the public domain but for a statute that " +"cannot be justified under ordinary First Amendment analysis or under a " +"proper reading of the limits built into the Copyright Clause." +msgstr "" +"Mr. lessig: vi vil ha rett til Ã¥ kopiere ordrett verk som bør være i den " +"offentlige sfæren, og ville være allemannseie, men for en vedtekter som ikke " +"kan begrunnes under vanlige første endring analyse eller under en riktig " +"lesing av grensene som er innebygd i setningsdelen opphavsrett." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Things went better for us when the government gave its argument; for now the " +"Court picked up on the core of our claim. As Justice Scalia asked Solicitor " +"General Olson," +msgstr "" +"ting gikk bedre for oss nÃ¥r regjeringen ga argumentet; for nÃ¥ domstolen " +"plukket opp pÃ¥ kjernen av vÃ¥re krav. som rettferdighet spurte scalia advokat " +"generelt olson" + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"justice scalia: You say that the functional equivalent of an unlimited time " +"would be a violation [of the Constitution], but that's precisely the " +"argument that's being made by petitioners here, that a limited time which is " +"extendable is the functional equivalent of an unlimited time." +msgstr "" +"rettferdighet scalia: du si at samme en ubegrenset tid ville være et brudd " +"[av Grunnloven], men det er nettopp argumentet som gjøres av petitioners " +"her, det en begrenset periode som er utvidbart er samme en ubegrenset tid." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When Olson was finished, it was my turn to give a closing rebuttal. Olson's " +"flailing had revived my anger. But my anger still was directed to the " +"academic, not the practical. The government was arguing as if this were the " +"first case ever to consider limits on Congress's Copyright and Patent Clause " +"power. Ever the professor and not the advocate, I closed by pointing out the " +"long history of the Court imposing limits on Congress's power in the name of " +"the Copyright and Patent Clause-- indeed, the very first case striking a law " +"of Congress as exceeding a specific enumerated power was based upon the " +"Copyright and Patent Clause. All true. But it wasn't going to move the Court " +"to my side." +msgstr "" +"NÃ¥r olson var ferdig, var det min tur til Ã¥ gi en avsluttende rebuttal. " +"olson's flailing hadde gjenopplivet sinnet mitt. men min vrede fortsatt ble " +"sendt til akademiske, ikke praktiske. regjeringen var kranglet som om dette " +"var det første tilfellet noensinne Ã¥ vurdere begrensninger pÃ¥ congress's " +"copyright og patent-setningsdel makt. professoren og ikke talsmann, jeg " +"lukket noensinne ved Ã¥ peke pÃ¥ den lange historien av domstolen innføre " +"begrensninger pÃ¥ Kongressens makt i navnet pÃ¥ opphavsrett og patent-" +"setningsdel--faktisk, det aller første tilfellet støtning en lov av " +"Kongressen som overskrider en bestemt, nummerert makt var basert pÃ¥ " +"opphavsrett og patent-setningsdel. alle sanne. men det var ikke til Ã¥ flytte " +"retten til min side." + +#. PAGE BREAK 248 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As I left the court that day, I knew there were a hundred points I wished I " +"could remake. There were a hundred questions I wished I had answered " +"differently. But one way of thinking about this case left me optimistic." +msgstr "" +"som jeg venstre retten denne dagen, jeg visste det var en hundre punkter jeg " +"ønsket at jeg kunne remake. var det en hundre spørsmÃ¥l jeg ønsket at jeg " +"hadde svart pÃ¥ en annen mÃ¥te. men en mÃ¥te Ã¥ tenke pÃ¥ dette tilfellet forlatt " +"meg optimistisk." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The government had been asked over and over again, what is the limit? Over " +"and over again, it had answered there is no limit. This was precisely the " +"answer I wanted the Court to hear. For I could not imagine how the Court " +"could understand that the government believed Congress's power was unlimited " +"under the terms of the Copyright Clause, and sustain the government's " +"argument. The solicitor general had made my argument for me. No matter how " +"often I tried, I could not understand how the Court could find that " +"Congress's power under the Commerce Clause was limited, but under the " +"Copyright Clause, unlimited. In those rare moments when I let myself believe " +"that we may have prevailed, it was because I felt this Court--in particular, " +"the Conservatives--would feel itself constrained by the rule of law that it " +"had established elsewhere." +msgstr "" +"regjeringen hadde blitt spurt om og om igjen, hva er grensen? igjen og " +"igjen, det hadde besvart det er ingen begrensning. Dette var nettopp svaret " +"jeg ville retten Ã¥ høre. for jeg ikke kan forestille meg hvordan domstol " +"kunne forstÃ¥ at regjeringen trodde congress's makt var ubegrenset under " +"betingelsene i setningsdelen opphavsrett, og opprettholde regjeringens " +"argumentet. advokat-general hadde gjort mitt argument for meg. uansett hvor " +"ofte jeg forsøkt, kunne jeg ikke forstÃ¥ hvordan domstol finner at " +"Kongressens makt under handel-setningsdel var begrenset, men under den " +"opphavsrett setningen, ubegrenset. i de sjeldne øyeblikkene nÃ¥r jeg la meg " +"tro at vi kan ha kommet, det var fordi jeg følte denne retten--spesielt " +"ville konservative--føle seg begrenset av rettssikkerhet at det hadde " +"etablert andre steder." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The morning of January 15, 2003, I was five minutes late to the office and " +"missed the 7:00 A.M. call from the Supreme Court clerk. Listening to the " +"message, I could tell in an instant that she had bad news to report.The " +"Supreme Court had affirmed the decision of the Court of Appeals. Seven " +"justices had voted in the majority. There were two dissents." +msgstr "" +"15. januar 2003, morgenen jeg var fem minutter for sent til kontoret og " +"ubesvarte anropet 7: 00 am fra Høyesterett kontorist. lytte til meldingen, " +"jeg kunne fortelle pÃ¥ et øyeblikk at hun hadde dÃ¥rlige nyheter til report." +"the hadde Høyesterett bekreftet avgjørelsen til court of appeals. syv " +"justiariusene hadde stemt i fleste. Det var to Dissensene." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"A few seconds later, the opinions arrived by e-mail. I took the phone off " +"the hook, posted an announcement to our blog, and sat down to see where I " +"had been wrong in my reasoning." +msgstr "" +"noen sekunder senere, kom meninger via e-post. Jeg tok telefonen av kroken, " +"postet en kunngjøring til vÃ¥r blogg, og satte meg ned for Ã¥ se hvor jeg " +"hadde vært feil i mitt resonnement." + +#. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "My reasoning. Here was a case that pitted all the money in the world " +#| "against reasoning. And here was the last naïve law professor, scouring " +#| "the pages, looking for reasoning." +msgid "" +"My reasoning. Here was a case that pitted all the money in the world against " +"reasoning. And here was the last naïve law professor, scouring the pages, " +"looking for reasoning." +msgstr "" +"mitt resonnement. Her var en sak som pitted alle pengene i verden mot " +"resonnement. og her var den siste naivt lov professoren, scouring sider, pÃ¥ " +"jakt etter resonnement." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I first scoured the opinion, looking for how the Court would distinguish the " +"principle in this case from the principle in Lopez. The argument was nowhere " +"to be found. The case was not even cited. The argument that was the core " +"argument of our case did not even appear in the Court's opinion." +msgstr "" +"Jeg scoured først mening, ser for hvordan domstol vil skille prinsippet i " +"dette tilfellet fra prinsippet i lopez. argumentet var ingensteds Ã¥ bli " +"funnet. saken ble ikke selv sitert. argumentet som ble argumentet kjernen i " +"vÃ¥rt tilfelle ikke engang vises i retten mening." + +#. PAGE BREAK 249 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Justice Ginsburg simply ignored the enumerated powers argument. Consistent " +"with her view that Congress's power was not limited generally, she had found " +"Congress's power not limited here." +msgstr "" +"rettferdighet ginsburg ganske enkelt ignorert argumentet nummerert kreftene. " +"konsekvent med hennes syn at Kongressen makt var ikke begrenset Generelt, " +"hun hadde funnet Kongressens makt ikke begrenset her." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Her opinion was perfectly reasonable--for her, and for Justice Souter. " +"Neither believes in Lopez. It would be too much to expect them to write an " +"opinion that recognized, much less explained, the doctrine they had worked " +"so hard to defeat." +msgstr "" +"hennes mening var helt rimelig--for henne, og for rettferdighet souter. " +"Ingen av dem tror pÃ¥ lopez. det ville være for mye Ã¥ forvente dem til Ã¥ " +"skrive en uttalelse som gjenkjennes, mye mindre forklart, doktrine som de " +"hadde arbeidet sÃ¥ hardt for Ã¥ beseire." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But as I realized what had happened, I couldn't quite believe what I was " +"reading. I had said there was no way this Court could reconcile limited " +"powers with the Commerce Clause and unlimited powers with the Progress " +"Clause. It had never even occurred to me that they could reconcile the two " +"simply by not addressing the argument. There was no inconsistency because " +"they would not talk about the two together. There was therefore no " +"principle that followed from the Lopez case: In that context, Congress's " +"power would be limited, but in this context it would not." +msgstr "" +"men som jeg hva som hadde skjedd, jeg kunne ikke helt tro hva jeg leser. Jeg " +"hadde sagt det var ingen mÃ¥te denne retten kan avstemme begrenset krefter " +"med handel-setningsdelen og ubegrensede krefter med fremgang-setningsdelen. " +"det hadde aldri skjedd for meg at de kunne forene to ved adressering ikke " +"argumentet. Det var ingen inkonsekvens fordi de ikke ville snakker om to " +"sammen. Det ble derfor ingen prinsippet som fulgt av lopez tilfelle: i den " +"sammenhengen, Kongressens makt ville være begrenset, men i denne sammenheng " +"vil det ikke." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Yet by what right did they get to choose which of the framers' values they " +"would respect? By what right did they--the silent five--get to select the " +"part of the Constitution they would enforce based on the values they thought " +"important? We were right back to the argument that I said I hated at the " +"start: I had failed to convince them that the issue here was important, and " +"I had failed to recognize that however much I might hate a system in which " +"the Court gets to pick the constitutional values that it will respect, that " +"is the system we have." +msgstr "" +"ennÃ¥ ved hvilken rett de fikk til Ã¥ velge hvilke av de underskrev verdiene " +"de ville respekt? ved hvilken rett gjorde de--de stille fem--fÃ¥r Ã¥ velge " +"delen av Grunnloven de ville hÃ¥ndheve basert pÃ¥ verdiene de trodde viktig? " +"Vi var tilbake til argumentet at jeg sa jeg hatet i starten: Jeg hadde " +"mislyktes med Ã¥ overbevise dem om at problemet her var viktig, og jeg hadde " +"unnlot Ã¥ innse at det er systemet vi har, men mye jeg kan hater et system " +"der domstolen fÃ¥r velge konstitusjonelle verdiene som det vil respektere,." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Justices Breyer and Stevens wrote very strong dissents. Stevens's opinion " +"was crafted internal to the law: He argued that the tradition of " +"intellectual property law should not support this unjustified extension of " +"terms. He based his argument on a parallel analysis that had governed in the " +"context of patents (so had we). But the rest of the Court discounted the " +"parallel--without explaining how the very same words in the Progress Clause " +"could come to mean totally different things depending upon whether the words " +"were about patents or copyrights. The Court let Justice Stevens's charge go " +"unanswered." +msgstr "" +"to andre justiariusene breyer og stevens skrev veldig sterk Dissensene. " +"Stevens mening laget interne til loven: han hevdet at tradisjonen med " +"lovgivning for immaterielle ikke bør støtter dette uberettiget forlengelse " +"av vilkÃ¥rene. han basert hans argument pÃ¥ en parallell analyse som hadde " +"styrt i sammenheng med patenter (sÃ¥ hadde vi). men resten av domstolen " +"nedsatte parallelt--uten Ã¥ forklare hvordan de samme ord i fremgang-" +"setningsdelen kan komme til Ã¥ bety helt forskjellige ting som er avhengig av " +"om ordene var om patenter eller opphavsrett. Retten la rettferdighet stevens " +"kostnad gÃ¥ ubesvart." + +#. PAGE BREAK 250 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Justice Breyer's opinion, perhaps the best opinion he has ever written, was " +"external to the Constitution. He argued that the term of copyrights has " +"become so long as to be effectively unlimited. We had said that under the " +"current term, a copyright gave an author 99.8 percent of the value of a " +"perpetual term. Breyer said we were wrong, that the actual number was " +"99.9997 percent of a perpetual term. Either way, the point was clear: If the " +"Constitution said a term had to be \"limited,\" and the existing term was so " +"long as to be effectively unlimited, then it was unconstitutional." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These two justices understood all the arguments we had made. But because " +"neither believed in the Lopez case, neither was willing to push it as a " +"reason to reject this extension. The case was decided without anyone having " +"addressed the argument that we had carried from Judge Sentelle. It was " +"Hamlet without the Prince." +msgstr "" +"disse to justiariusene forstÃ¥tt alle argumentene vi hadde gjort. men fordi " +"ingen trodde i lopez-saken, heller ikke var villig til Ã¥ skyve den som en " +"grunn til Ã¥ avvise denne utvidelsen. tilfellet var besluttet uten at noen " +"har adressert argumentet om at vi hadde fraktet fra dommer sentelle. Det var " +"hamlet uten prinsen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Defeat brings depression. They say it is a sign of health when depression " +"gives way to anger. My anger came quickly, but it didn't cure the " +"depression. This anger was of two sorts." +msgstr "" +"tap bringer depresjon. de sier det er et tegn pÃ¥ helse nÃ¥r depresjon gir " +"mÃ¥te Ã¥ sinne. min vrede kom raskt, men det gjorde ikke kurere depresjon. " +"Dette sinne var inälvor." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It was first anger with the five \"Conservatives.\" It would have been one " +"thing for them to have explained why the principle of Lopez didn't apply in " +"this case. That wouldn't have been a very convincing argument, I don't " +"believe, having read it made by others, and having tried to make it myself. " +"But it at least would have been an act of integrity. These justices in " +"particular have repeatedly said that the proper mode of interpreting the " +"Constitution is \"originalism\"--to first understand the framers' text, " +"interpreted in their context, in light of the structure of the Constitution. " +"That method had produced Lopez and many other \"originalist\" rulings. Where " +"was their \"originalism\" now?" +msgstr "" + +#. PAGE BREAK 251 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Here, they had joined an opinion that never once tried to explain what the " +"framers had meant by crafting the Progress Clause as they did; they joined " +"an opinion that never once tried to explain how the structure of that clause " +"would affect the interpretation of Congress's power. And they joined an " +"opinion that didn't even try to explain why this grant of power could be " +"unlimited, whereas the Commerce Clause would be limited. In short, they had " +"joined an opinion that did not apply to, and was inconsistent with, their " +"own method for interpreting the Constitution. This opinion may well have " +"yielded a result that they liked. It did not produce a reason that was " +"consistent with their own principles." +msgstr "" +"her, de hadde med seg en oppfatning at aldri en gang prøvde Ã¥ forklare hva " +"underskrev hadde menes med laging setningsdelen fremgang som de gjorde; de " +"sluttet seg en oppfatning at aldri en gang forsøkt Ã¥ forklare hvordan " +"strukturen i som ledd vil pÃ¥virke tolkningen av Kongressens makt. og de med " +"seg en mening som ikke engang forsøke Ã¥ forklare hvorfor dette stipendet av " +"makt kan være ubegrenset, mens handel-setningsdel ville være begrenset. kort " +"sagt, hadde de sluttet en uttalelse som ikke gjelde, og var inkonsekvent med " +"sin egen metode for tolking av Grunnloven. denne mening kan ogsÃ¥ har gitt et " +"resultat som de likte. det ikke produsere en grunn som var i samsvar med sin " +"egen prinsipper." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"My anger with the Conservatives quickly yielded to anger with myself. For I " +"had let a view of the law that I liked interfere with a view of the law as " +"it is." +msgstr "" +"mitt sinne med høyre raskt gitt til sinne med meg selv. for jeg hadde la en " +"visning av loven som jeg likte forstyrre en visning av loven som det er." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Most lawyers, and most law professors, have little patience for idealism " +"about courts in general and this Supreme Court in particular. Most have a " +"much more pragmatic view. When Don Ayer said that this case would be won " +"based on whether I could convince the Justices that the framers' values were " +"important, I fought the idea, because I didn't want to believe that that is " +"how this Court decides. I insisted on arguing this case as if it were a " +"simple application of a set of principles. I had an argument that followed " +"in logic. I didn't need to waste my time showing it should also follow in " +"popularity." +msgstr "" +"de fleste jurister og de fleste lov professorer, har liten tÃ¥lmodighet for " +"idealismen om domstoler Generelt og denne Høyesterett spesielt. de fleste " +"har mye mer pragmatisk. da don ayer sa at dette tilfellet ville bli vunnet " +"basert pÃ¥ om jeg kunne overbevise de to andre justiariusene at verdiene for " +"de underskrev var viktig, jeg kjempet ideen, fordi jeg ikke ønsker Ã¥ tro at " +"det er hvordan denne retten bestemmer. jeg insisterte pÃ¥ kranglet denne " +"saken som om den var en enkel PÃ¥føring av et sett prinsipper. Jeg hadde et " +"argument som fulgte i logikken. Jeg trengte ikke Ã¥ kaste bort min tid viser " +"det bør ogsÃ¥ følge i popularitet." + +#. PAGE BREAK 252 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As I read back over the transcript from that argument in October, I can see " +"a hundred places where the answers could have taken the conversation in " +"different directions, where the truth about the harm that this unchecked " +"power will cause could have been made clear to this Court. Justice Kennedy " +"in good faith wanted to be shown. I, idiotically, corrected his question. " +"Justice Souter in good faith wanted to be shown the First Amendment harms. " +"I, like a math teacher, reframed the question to make the logical point. I " +"had shown them how they could strike this law of Congress if they wanted to. " +"There were a hundred places where I could have helped them want to, yet my " +"stubbornness, my refusal to give in, stopped me. I have stood before " +"hundreds of audiences trying to persuade; I have used passion in that effort " +"to persuade; but I refused to stand before this audience and try to persuade " +"with the passion I had used elsewhere. It was not the basis on which a court " +"should decide the issue." +msgstr "" +"som jeg leste tilbake over transkripsjon fra argumentet i oktober, kan jeg " +"se hundre steder der svarene kan ha tatt samtalen i forskjellige retninger, " +"der sannheten om skade som denne ukontrollert makt vil forÃ¥rsake kunne vært " +"gjort klart til denne retten. rettferdighet kennedy i god tro ville være " +"vist. Jeg, idiotically, rettet opp sine spørsmÃ¥l. rettferdighet souter i god " +"tro ville være vist den første endringen skader. Jeg, reframed som en " +"matematikk-lærer spørsmÃ¥l for Ã¥ gjøre det logiske punktet. Jeg hadde vist " +"dem hvordan de kunne streik denne lov av Kongressen hvis de ville. Det var " +"en hundre steder hvor jeg kunne ha hjulpet dem vil, men min vrangvilje, mine " +"nektet Ã¥ gi i, stoppet meg. Jeg har stÃ¥tt før hundrevis av mÃ¥lgrupper prøver " +"Ã¥ overtale; Jeg har brukt lidenskap i at forsøk pÃ¥ Ã¥ overtale; men jeg " +"nektet Ã¥ stÃ¥ denne mÃ¥lgruppen og prøver Ã¥ overtale med lidenskap jeg hadde " +"brukt et annet sted. Det var ikke grunnlag som en domstol bør avgjøre " +"problemet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Would it have been different if I had argued it differently? Would it have " +"been different if Don Ayer had argued it? Or Charles Fried? Or Kathleen " +"Sullivan?" +msgstr "" +"ville det ha vært annerledes hvis jeg hadde hevdet det annerledes? ville det " +"ha vært annerledes hvis don ayer hadde hevdet det? eller charles stekt? " +"eller kathleen sullivan?" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"My friends huddled around me to insist it would not. The Court was not " +"ready, my friends insisted. This was a loss that was destined. It would take " +"a great deal more to show our society why our framers were right. And when " +"we do that, we will be able to show that Court." +msgstr "" +"mine venner huddled rundt meg Ã¥ insistere det ikke ville. domstolen ikke var " +"klar, insisterte mine venner. Dette var et tap som var bestemt. det vil ta " +"mye mer Ã¥ vise vÃ¥rt samfunn hvorfor vÃ¥re underskrev hadde rett. og nÃ¥r vi " +"gjør det, vil vi være i stand til Ã¥ vise at domstolen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Maybe, but I doubt it. These Justices have no financial interest in doing " +"anything except the right thing. They are not lobbied. They have little " +"reason to resist doing right. I can't help but think that if I had stepped " +"down from this pretty picture of dispassionate justice, I could have " +"persuaded." +msgstr "" +"kanskje, men jeg tviler pÃ¥ det. disse to andre justiariusene har ingen " +"økonomiske interesse i Ã¥ gjøre noe annet enn rette. de er ikke planlagt. de " +"har liten grunn til Ã¥ motstÃ¥ gjør akkurat. Jeg kan ikke hjelpe, men mener at " +"hvis jeg hadde trappet ned fra denne pen bilde av dispassionate " +"rettferdighet, jeg kunne har overbevist." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"And even if I couldn't, then that doesn't excuse what happened in January. " +"For at the start of this case, one of America's leading intellectual " +"property professors stated publicly that my bringing this case was a " +"mistake. \"The Court is not ready,\" Peter Jaszi said; this issue should not " +"be raised until it is." +msgstr "" + +#. PAGE BREAK 253 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"After the argument and after the decision, Peter said to me, and publicly, " +"that he was wrong. But if indeed that Court could not have been persuaded, " +"then that is all the evidence that's needed to know that here again Peter " +"was right. Either I was not ready to argue this case in a way that would do " +"some good or they were not ready to hear this case in a way that would do " +"some good. Either way, the decision to bring this case--a decision I had " +"made four years before--was wrong. While the reaction to the Sonny Bono Act " +"itself was almost unanimously negative, the reaction to the Court's decision " +"was mixed. No one, at least in the press, tried to say that extending the " +"term of copyright was a good idea. We had won that battle over ideas. Where " +"the decision was praised, it was praised by papers that had been skeptical " +"of the Court's activism in other cases. Deference was a good thing, even if " +"it left standing a silly law. But where the decision was attacked, it was " +"attacked because it left standing a silly and harmful law. The New York " +"Times wrote in its editorial," +msgstr "" +"etter argumentet og etter vedtaket sa peter til meg, og offentlig, at han " +"var galt. men hvis faktisk at domstolen ikke kunne er blitt overtalt, " +"deretter som er alle bevis som trengs for Ã¥ vite at her igjen peter var " +"rett. Jeg var ikke klar til Ã¥ argumentere denne saken pÃ¥ en mÃ¥te som ville " +"gjøre noen gode eller de var ikke klar til Ã¥ høre dette tilfellet pÃ¥ en mÃ¥te " +"som ville gjøre noen gode. Uansett, beslutningen om Ã¥ bringe denne saken--en " +"beslutning om jeg hadde gjort fire Ã¥r før--var galt. mens reaksjonen til " +"sonny bono handle selv var nesten enstemmig negativ, var reaksjonen til " +"domstolens avgjørelse blandet. Ingen, minst i pressen, prøvde Ã¥ si at " +"utvidelse av copyright var en god idé. Vi hadde vant den kampen over ideer. " +"der beslutningen ble rost, ble det rost av papir som hadde vært skeptisk til " +"retten aktivisme i andre tilfeller. ærbødighet var bra, selv om det igjen en " +"dum lov. men der beslutningen ble angrepet, den ble angrepet fordi det igjen " +"en dum og skadelig lov. new york times skrev i sin redaksjonell," + +#. type: Content of: <book><chapter><sect1><blockquote><para> +msgid "" +"In effect, the Supreme Court's decision makes it likely that we are seeing " +"the beginning of the end of public domain and the birth of copyright " +"perpetuity. The public domain has been a grand experiment, one that should " +"not be allowed to die. The ability to draw freely on the entire creative " +"output of humanity is one of the reasons we live in a time of such fruitful " +"creative ferment." +msgstr "" +"i kraft gjør av Høyesterett beslutningen det sannsynlig at vi ser " +"begynnelsen pÃ¥ slutten av public domain og fødselen av opphavsrett " +"perpetuity. public domain har vært en store eksperimentet, som ikke skal " +"tillates Ã¥ dø. muligheten til Ã¥ trekke fritt pÃ¥ hele kreativ produksjon av " +"menneskeheten er en av grunnene til at vi lever i en tid med slike fruktbart " +"kreative gjære." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The best responses were in the cartoons. There was a gaggle of hilarious " +"images--of Mickey in jail and the like. The best, from my view of the case, " +"was Ruben Bolling's, reproduced on the next page. The \"powerful and wealthy" +"\" line is a bit unfair. But the punch in the face felt exactly like that." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The image that will always stick in my head is that evoked by the quote from " +"The New York Times. That \"grand experiment\" we call the \"public domain\" " +"is over? When I can make light of it, I think, \"Honey, I shrunk the " +"Constitution.\" But I can rarely make light of it. We had in our " +"Constitution a commitment to free culture. In the case that I fathered, the " +"Supreme Court effectively renounced that commitment. A better lawyer would " +"have made them see differently." +msgstr "" + +#. type: Content of: <book><chapter><sect1><title> +msgid "CHAPTER FOURTEEN: Eldred II" +msgstr "Kapittel fjorten: eldred ii" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The day Eldred was decided, fate would have it that I was to travel to " +"Washington, D.C. (The day the rehearing petition in Eldred was denied--" +"meaning the case was really finally over--fate would have it that I was " +"giving a speech to technologists at Disney World.) This was a particularly " +"long flight to my least favorite city. The drive into the city from Dulles " +"was delayed because of traffic, so I opened up my computer and wrote an op-" +"ed piece." +msgstr "" +"dag-eldred ble besluttet, men skjebnen ville at som jeg var Ã¥ reise til " +"washington, DC (dagen rehearing protestskriv i eldred ble nektet--noe som " +"betyr at saken var virkelig endelig over--skjebnen ville at at jeg ga en " +"tale til Teknologorganisasjon pÃ¥ disney verden.) dette var en spesielt lang " +"flytur til min minst favoritt by. stasjonen til byen fra dulles ble " +"forsinket pÃ¥ grunn av trafikk, sÃ¥ jeg Ã¥pnet opp min datamaskin, og skrev en " +"op-ed brikke." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It was an act of contrition. During the whole of the flight from San " +"Francisco to Washington, I had heard over and over again in my head the same " +"advice from Don Ayer: You need to make them see why it is important. And " +"alternating with that command was the question of Justice Kennedy: \"For all " +"these years the act has impeded progress in science and the useful arts. I " +"just don't see any empirical evidence for that.\" And so, having failed in " +"the argument of constitutional principle, finally, I turned to an argument " +"of politics." +msgstr "" + +#. PAGE BREAK 256 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The New York Times published the piece. In it, I proposed a simple fix: " +"Fifty years after a work has been published, the copyright owner would be " +"required to register the work and pay a small fee. If he paid the fee, he " +"got the benefit of the full term of copyright. If he did not, the work " +"passed into the public domain." +msgstr "" +"new york times publisert arb. i den, jeg foreslÃ¥tt en enkel Fiks: femti Ã¥r " +"etter at et arbeid er publisert, eieren av opphavsretten ville være " +"nødvendig Ã¥ registrere arbeidet og betale en liten avgift. Hvis han betalt " +"gebyret, fikk han fordelen med full sikt av opphavsrett. Hvis han ikke " +"gjorde bestÃ¥tt arbeidet i public domain." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We called this the Eldred Act, but that was just to give it a name. Eric " +"Eldred was kind enough to let his name be used once again, but as he said " +"early on, it won't get passed unless it has another name." +msgstr "" +"Vi kalte denne loven eldred, men det var bare for Ã¥ gi det et navn. Eric " +"eldred var slag nok Ã¥ la hans navn brukes igjen, men som han sa tidlig, det " +"vil ikke fÃ¥ gÃ¥tt med mindre det er et annet navn." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Or another two names. For depending upon your perspective, this is either " +"the \"Public Domain Enhancement Act\" or the \"Copyright Term Deregulation " +"Act.\" Either way, the essence of the idea is clear and obvious: Remove " +"copyright where it is doing nothing except blocking access and the spread of " +"knowledge. Leave it for as long as Congress allows for those works where its " +"worth is at least $1. But for everything else, let the content go." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The reaction to this idea was amazingly strong. Steve Forbes endorsed it in " +"an editorial. I received an avalanche of e-mail and letters expressing " +"support. When you focus the issue on lost creativity, people can see the " +"copyright system makes no sense. As a good Republican might say, here " +"government regulation is simply getting in the way of innovation and " +"creativity. And as a good Democrat might say, here the government is " +"blocking access and the spread of knowledge for no good reason. Indeed, " +"there is no real difference between Democrats and Republicans on this issue. " +"Anyone can recognize the stupid harm of the present system." +msgstr "" +"reaksjon pÃ¥ denne ideen var utrolig sterk. Steve forbes vedtok det i en " +"redaksjonell. Jeg mottok en skred av e-post og brev som uttrykker støtte. " +"NÃ¥r du fokuserer problemet pÃ¥ tapt kreativitet, kan folk se opphavsretten " +"til systemet gir ingen mening. som en god republikansk kan si, komme her " +"regjeringen regulering bare i veien innovasjon og kreativitet. og som en god " +"demokratisk kan si, regjeringen blokkerer her tilgang og spredning av " +"kunnskap for ingen god grunn. faktisk, det er ingen reell forskjell mellom " +"demokratene og republikanerne pÃ¥ dette problemet. noen kan gjenkjenne de " +"dumme skader som dagens ordning." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Indeed, many recognized the obvious benefit of the registration " +"requirement. For one of the hardest things about the current system for " +"people who want to license content is that there is no obvious place to look " +"for the current copyright owners. Since registration is not required, since " +"marking content is not required, since no formality at all is required, it " +"is often impossibly hard to locate copyright owners to ask permission to use " +"or license their work. This system would lower these costs, by establishing " +"at least one registry where copyright owners could be identified." +msgstr "" +"faktisk anerkjent mange den Ã¥penbare fordelen med kravet om registrering. " +"for en av de vanskeligste tingene om dagens system for folk som ønsker Ã¥ " +"lisens innholdet er at det er ingen Ã¥penbare sted Ã¥ lete etter gjeldende " +"opphavsrett eierne. siden registrering ikke er nødvendig, siden merking " +"innhold ikke er pÃ¥krevd, siden ingen formalitet i det hele tatt er " +"nødvendig, er det ofte impossibly vanskelig Ã¥ finne eiere av opphavsretter " +"for Ã¥ be om tillatelse til Ã¥ bruke eller lisensierer sitt arbeid. Dette " +"systemet vil redusere disse kostnadene ved Ã¥ etablere minst én registret der " +"eiere av opphavsretter kan identifiseres." + +#. f1. +#. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Until the 1908 Berlin Act of the Berne Convention, national copyright " +#| "legislation sometimes made protection depend upon compliance with " +#| "formalities such as registration, deposit, and affixation of notice of " +#| "the author's claim of copyright. However, starting with the 1908 act, " +#| "every text of the Convention has provided that \\\"the enjoyment and the " +#| "exercise\\\" of rights guaranteed by the Convention \\\"shall not be " +#| "subject to any formality.\\\" The prohibition against formalities is " +#| "presently embodied in Article 5(2) of the Paris Text of the Berne " +#| "Convention. Many countries continue to impose some form of deposit or " +#| "registration requirement, albeit not as a condition of copyright. French " +#| "law, for example, requires the deposit of copies of works in national " +#| "repositories, principally the National Museum. Copies of books published " +#| "in the United Kingdom must be deposited in the British Library. The " +#| "German Copyright Act provides for a Registrar of Authors where the " +#| "author's true name can be filed in the case of anonymous or pseudonymous " +#| "works. Paul Goldstein, International Intellectual Property Law, Cases and " +#| "Materials (New York: Foundation Press, 2001), 153­54." +msgid "" +"Until the 1908 Berlin Act of the Berne Convention, national copyright " +"legislation sometimes made protection depend upon compliance with " +"formalities such as registration, deposit, and affixation of notice of the " +"author's claim of copyright. However, starting with the 1908 act, every text " +"of the Convention has provided that \"the enjoyment and the exercise\" of " +"rights guaranteed by the Convention \"shall not be subject to any formality." +"\" The prohibition against formalities is presently embodied in Article 5(2) " +"of the Paris Text of the Berne Convention. Many countries continue to impose " +"some form of deposit or registration requirement, albeit not as a condition " +"of copyright. French law, for example, requires the deposit of copies of " +"works in national repositories, principally the National Museum. Copies of " +"books published in the United Kingdom must be deposited in the British " +"Library. The German Copyright Act provides for a Registrar of Authors where " +"the author's true name can be filed in the case of anonymous or pseudonymous " +"works. Paul Goldstein, International Intellectual Property Law, Cases and " +"Materials (New York: Foundation Press, 2001), 153­54." +msgstr "" +"før det 1908 berlin handle av berne konvensjonen, nasjonal opphavsrett " +"lovgivning noen ganger gjort beskyttelse som er avhengige av samsvar med " +"formaliteter som registrering, innskudd og affixation av forfatterens " +"reklamasjon av opphavsrett. imidlertid, starter med 1908 act, hver tekst av " +"konvensjonen gitt som \\\"fÃ¥ glede og øvelsen\\\" av rettigheter garanteres " +"ved konvensjonen \\\"skal ikke være gjenstand for alle formalitet.\\\" " +"forbud mot formaliteter gjenspeiles dag i 5 (2 artikkelen) av paris-teksten " +"i berne konvensjonen. mange land fortsatt Ã¥ innføre noen form for innskudd " +"eller registrering kravet, om enn ikke som en betingelse for opphavsrett. " +"Fransk lov, krever for eksempel innskudd pÃ¥ kopier av works i nasjonale, " +"for, hovedsakelig nasjonalmuseet. Kopier av bøker som er utgitt i " +"Storbritannia mÃ¥ settes i british library. tysk opphavsrett lov gir en " +"registrar av forfattere der forfatterens sanne navn kan være arkivert i " +"tilfelle av anonym eller pseudonymous fungerer. Paul goldstein, lovgivning " +"for immaterielle, saker og materialer (new york: foundation press, 2001), 153­" +"54." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"As I described in chapter 10, formalities in copyright law were removed in " +"1976, when Congress followed the Europeans by abandoning any formal " +"requirement before a copyright is granted.<placeholder type=\"footnote\" id=" +"\"0\"/> The Europeans are said to view copyright as a \"natural right.\" " +"Natural rights don't need forms to exist. Traditions, like the Anglo-" +"American tradition that required copyright owners to follow form if their " +"rights were to be protected, did not, the Europeans thought, properly " +"respect the dignity of the author. My right as a creator turns on my " +"creativity, not upon the special favor of the government." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"That's great rhetoric. It sounds wonderfully romantic. But it is absurd " +"copyright policy. It is absurd especially for authors, because a world " +"without formalities harms the creator. The ability to spread \"Walt Disney " +"creativity\" is destroyed when there is no simple way to know what's " +"protected and what's not." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The fight against formalities achieved its first real victory in Berlin in " +"1908. International copyright lawyers amended the Berne Convention in 1908, " +"to require copyright terms of life plus fifty years, as well as the " +"abolition of copyright formalities. The formalities were hated because the " +"stories of inadvertent loss were increasingly common. It was as if a Charles " +"Dickens character ran all copyright offices, and the failure to dot an i or " +"cross a t resulted in the loss of widows' only income." +msgstr "" +"kampen mot formaliteter oppnÃ¥dde sin første virkelige seier i berlin i 1908. " +"internasjonal opphavsrett advokater endret berne konvensjonen i 1908, til Ã¥ " +"kreve opphavsrett vilkÃ¥rene i livet pluss femti Ã¥r, i tillegg til " +"avskaffelse av opphavsrett formaliteter. formaliteter ble hatet fordi " +"historiene til utilsiktet tap var stadig vanligere. Det var som om et " +"charles dickens tegn kjørte alle opphavsrett kontorer, og unnlatelse av Ã¥ " +"dot en i eller pÃ¥ tvers av en t ført til tap av enker eneste inntekt." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"These complaints were real and sensible. And the strictness of the " +"formalities, especially in the United States, was absurd. The law should " +"always have ways of forgiving innocent mistakes. There is no reason " +"copyright law couldn't, as well. Rather than abandoning formalities totally, " +"the response in Berlin should have been to embrace a more equitable system " +"of registration." +msgstr "" +"disse klager var reelle og fornuftig. og kravene i formaliteter, særlig i " +"USA, var absurd. loven skal alltid har mÃ¥ter Ã¥ forgiving uskyldige feil. Det " +"er ingen grunn lov om opphavsrett kunne ogsÃ¥. i stedet for Ã¥ forlate " +"formaliteter helt, burde svaret i berlin vært Ã¥ omfavne en mer rettferdig " +"system for registrering." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Even that would have been resisted, however, because registration in the " +"nineteenth and twentieth centuries was still expensive. It was also a " +"hassle. The abolishment of formalities promised not only to save the " +"starving widows, but also to lighten an unnecessary regulatory burden " +"imposed upon creators." +msgstr "" +"selv som ville har vært motstÃ¥tt, men fordi registrering i 1800 og 1900-" +"tallet var fortsatt dyrt. Det var ogsÃ¥ en problemfri. oppløsning av " +"formaliteter lovet ikke bare Ã¥ lagre sultende enker, men ogsÃ¥ Ã¥ lette en " +"unødvendig regulatoriske belastning pÃ¥tvang skapere." + +#. PAGE BREAK 258 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In addition to the practical complaint of authors in 1908, there was a moral " +"claim as well. There was no reason that creative property should be a second-" +"class form of property. If a carpenter builds a table, his rights over the " +"table don't depend upon filing a form with the government. He has a " +"property right over the table \"naturally,\" and he can assert that right " +"against anyone who would steal the table, whether or not he has informed the " +"government of his ownership of the table." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This argument is correct, but its implications are misleading. For the " +"argument in favor of formalities does not depend upon creative property " +"being second-class property. The argument in favor of formalities turns upon " +"the special problems that creative property presents. The law of " +"formalities responds to the special physics of creative property, to assure " +"that it can be efficiently and fairly spread." +msgstr "" +"Dette argumentet er riktig, men dens implikasjoner er misvisende. for " +"argumentet til fordel for formaliteter ikke avhenger av pÃ¥ kreative " +"egenskapen blir annenklasses egenskapen. argumentet for formaliteter slÃ¥r pÃ¥ " +"spesielle problemer som creative egenskapen presenterer. loven om " +"formaliteter svarer pÃ¥ spesielle fysikk av kreative eiendom, Ã¥ sikre at det " +"kan være effektivt og ganske spredt." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"No one thinks, for example, that land is second-class property just because " +"you have to register a deed with a court if your sale of land is to be " +"effective. And few would think a car is second-class property just because " +"you must register the car with the state and tag it with a license. In both " +"of those cases, everyone sees that there is an important reason to secure " +"registration--both because it makes the markets more efficient and because " +"it better secures the rights of the owner. Without a registration system for " +"land, landowners would perpetually have to guard their property. With " +"registration, they can simply point the police to a deed. Without a " +"registration system for cars, auto theft would be much easier. With a " +"registration system, the thief has a high burden to sell a stolen car. A " +"slight burden is placed on the property owner, but those burdens produce a " +"much better system of protection for property generally." +msgstr "" +"Ingen mener for eksempel at landet er annenklasses egenskapen bare fordi du " +"har Ã¥ register en gjerning med en domstol Hvis din salg av land er Ã¥ være " +"effektive. og fÃ¥ tror en bil er annenklasses egenskapen bare fordi du mÃ¥ " +"registrere bilen med staten og merke den med en lisens. i begge disse " +"tilfellene ser alle at det er en viktig grunn til Ã¥ sikre registrering--bÃ¥de " +"fordi det gjør markedene mer effektiv, og fordi det sikrer bedre " +"rettighetene til eieren. uten en registreringssystemet for land mÃ¥tte " +"grunneiere perpetually vokte deres eiendom. med registrering, kan de bare " +"peker politiet til en gjerning. uten en registreringssystemet for biler, " +"ville auto tyveri være mye enklere. med en registreringssystemet har tyven " +"en høy belastning Ã¥ selge en stjÃ¥let bil. en liten byrde er plassert pÃ¥ " +"eiendommen eier, men de byrdene produserer et mye bedre system av " +"beskyttelse for egenskapen generelt." + +#. PAGE BREAK 259 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It is similarly special physics that makes formalities important in " +"copyright law. Unlike a carpenter's table, there's nothing in nature that " +"makes it relatively obvious who might own a particular bit of creative " +"property. A recording of Lyle Lovett's latest album can exist in a billion " +"places without anything necessarily linking it back to a particular owner. " +"And like a car, there's no way to buy and sell creative property with " +"confidence unless there is some simple way to authenticate who is the author " +"and what rights he has. Simple transactions are destroyed in a world without " +"formalities. Complex, expensive, lawyer transactions take their place." +msgstr "" +"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 " +"som gjør det relativt Ã¥penbare som kan eie en bestemt bit av kreative-" +"egenskapen. et opptak av lyle lovett siste albumet kan finnes i en milliard " +"steder uten noe nødvendigvis knytte det tilbake til en bestemt eieren. og " +"som en bil, det er ingen mÃ¥te Ã¥ kjøpe og selge kreative egenskapen med " +"tillit med mindre det er noen enkel mÃ¥te Ã¥ godkjenne hvem er forfatter og " +"hvilke rettigheter han har. enkle transaksjoner er ødelagt i en verden uten " +"formaliteter. komplisert, dyrt, advokat transaksjoner ta sin plass." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This was the understanding of the problem with the Sonny Bono Act that we " +"tried to demonstrate to the Court. This was the part it didn't \"get.\" " +"Because we live in a system without formalities, there is no way easily to " +"build upon or use culture from our past. If copyright terms were, as Justice " +"Story said they would be, \"short,\" then this wouldn't matter much. For " +"fourteen years, under the framers' system, a work would be presumptively " +"controlled. After fourteen years, it would be presumptively uncontrolled." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But now that copyrights can be just about a century long, the inability to " +"know what is protected and what is not protected becomes a huge and obvious " +"burden on the creative process. If the only way a library can offer an " +"Internet exhibit about the New Deal is to hire a lawyer to clear the rights " +"to every image and sound, then the copyright system is burdening creativity " +"in a way that has never been seen before because there are no formalities." +msgstr "" +"men 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 " +"byrde pÃ¥ den kreative prosessen. Hvis det er den eneste mÃ¥ten et bibliotek " +"kan tilby en Internett-utstilling om new deal til Ã¥ ansette en advokat for Ã¥ " +"fjerne rettighetene til hver bildefil og lydfil, er opphavsretten til " +"systemet bebyrde kreativitet pÃ¥ en mÃ¥te som aldri har vært sett før fordi " +"det er ingen formaliteter." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The Eldred Act was designed to respond to exactly this problem. If it is " +"worth $1 to you, then register your work and you can get the longer term. " +"Others will know how to contact you and, therefore, how to get your " +"permission if they want to use your work. And you will get the benefit of an " +"extended copyright term." +msgstr "" +"eldred act ble utformet for Ã¥ svare pÃ¥ akkurat dette problemet. Hvis det er " +"verdt $1 til deg, deretter registrere ditt arbeid, og du kan fÃ¥ pÃ¥ lengre " +"sikt. andre vil vite hvordan du kontakter du, og derfor, hvordan du fÃ¥r din " +"tillatelse hvis de vil bruke arbeidet. og du vil fÃ¥ nytte av en utvidet " +"opphavsrett sikt." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"If it isn't worth it to you to register to get the benefit of an extended " +"term, then it shouldn't be worth it for the government to defend your " +"monopoly over that work either. The work should pass into the public domain " +"where anyone can copy it, or build archives with it, or create a movie based " +"on it. It should become free if it is not worth $1 to you." +msgstr "" +"Hvis det ikke er verdt det for deg Ã¥ registrere for Ã¥ fÃ¥ utbytte av en " +"utvidet periode, bør ikke sÃ¥ det være verdt det for regjeringen Ã¥ forsvare " +"ditt monopol over som fungerer heller. arbeidet skal passere i public domain " +"der alle kan kopiere den, eller bygge arkivet med det eller opprette en film " +"basert pÃ¥ den. Det bør bli gratis hvis det ikke er verdt $1 for deg." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Some worry about the burden on authors. Won't the burden of registering the " +"work mean that the $1 is really misleading? Isn't the hassle worth more than " +"$1? Isn't that the real problem with registration?" +msgstr "" +"noen bekymre byrden pÃ¥ forfattere. ikke byrden med Ã¥ registrere arbeidet " +"mener at $1 er egentlig misvisende? er ikke hassle verdt mer enn $1? er ikke " +"det virkelige problemet med registrering?" + +#. PAGE BREAK 260 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It is. The hassle is terrible. The system that exists now is awful. I " +"completely agree that the Copyright Office has done a terrible job (no doubt " +"because they are terribly funded) in enabling simple and cheap " +"registrations. Any real solution to the problem of formalities must address " +"the real problem of governments standing at the core of any system of " +"formalities. In this book, I offer such a solution. That solution " +"essentially remakes the Copyright Office. For now, assume it was Amazon that " +"ran the registration system. Assume it was one-click registration. The " +"Eldred Act would propose a simple, one-click registration fifty years after " +"a work was published. Based upon historical data, that system would move up " +"to 98 percent of commercial work, commercial work that no longer had a " +"commercial life, into the public domain within fifty years. What do you " +"think?" +msgstr "" +"Det er. stresset er forferdelig. systemet som finnes nÃ¥ er forferdelig. Jeg " +"helt enig at opphavsrett kontoret har gjort en fryktelig jobb (ingen tvil " +"fordi de er veldig finansiert) ved Ã¥ aktivere enkel og billig " +"registreringer. alle ekte løsning pÃ¥ problemet med formaliteter mÃ¥ adressen " +"den virkelige problemet av regjeringer stÃ¥ende i kjernen av et system av " +"formaliteter. i denne boken tilby jeg en slik løsning. Denne løsningen " +"remakes hovedsak copyright kontoret. for nÃ¥, kan du anta at det var amazon " +"som kjørte registreringssystemet. anta det var ett klikk registrering. " +"eldred act ville foreslÃ¥ en enkel, ett klikk registrering femti Ã¥r etter et " +"arbeid ble offentliggjort. basert pÃ¥ historiske data, at systemet ville " +"flytte opptil 98 prosent av kommersielle arbeid, kommersielle fungerer som " +"ikke lenger hadde en kommersiell levetid, i public domain innen femti Ã¥r. " +"hva tror du?" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When Steve Forbes endorsed the idea, some in Washington began to pay " +"attention. Many people contacted me pointing to representatives who might be " +"willing to introduce the Eldred Act. And I had a few who directly suggested " +"that they might be willing to take the first step." +msgstr "" +"NÃ¥r steve forbes støttet ideen, enkelte i washington begynte Ã¥ betale " +"oppmerksomhet. mange kontaktet meg peker til representanter som kan være " +"villig til Ã¥ introdusere eldred act. og jeg hadde noen som direkte foreslo " +"at de kan være villige til Ã¥ ta det første skrittet." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"One representative, Zoe Lofgren of California, went so far as to get the " +"bill drafted. The draft solved any problem with international law. It " +"imposed the simplest requirement upon copyright owners possible. In May " +"2003, it looked as if the bill would be introduced. On May 16, I posted on " +"the Eldred Act blog, \"we are close.\" There was a general reaction in the " +"blog community that something good might happen here." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But at this stage, the lobbyists began to intervene. Jack Valenti and the " +"MPAA general counsel came to the congresswoman's office to give the view of " +"the MPAA. Aided by his lawyer, as Valenti told me, Valenti informed the " +"congresswoman that the MPAA would oppose the Eldred Act. The reasons are " +"embarrassingly thin. More importantly, their thinness shows something clear " +"about what this debate is really about." +msgstr "" +"men pÃ¥ dette stadiet, lobbyister begynte Ã¥ intervenere. Jack valenti og mpaa " +"sjefsjurist kom til congresswoman's office Ã¥ gi oversikt over mpaa. hjulpet " +"av sin advokat, som valenti fortalte meg, informert valenti i congresswoman " +"at mpaa vil motsette seg eldred act. Ã¥rsakene er embarrassingly tynn. enda " +"viktigere, viser deres tykkelse noe klart om hva denne debatten er virkelig " +"om." + +#. PAGE BREAK 261 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The MPAA argued first that Congress had \"firmly rejected the central " +"concept in the proposed bill\"--that copyrights be renewed. That was true, " +"but irrelevant, as Congress's \"firm rejection\" had occurred long before " +"the Internet made subsequent uses much more likely. Second, they argued " +"that the proposal would harm poor copyright owners--apparently those who " +"could not afford the $1 fee. Third, they argued that Congress had determined " +"that extending a copyright term would encourage restoration work. Maybe in " +"the case of the small percentage of work covered by copyright law that is " +"still commercially valuable, but again this was irrelevant, as the proposal " +"would not cut off the extended term unless the $1 fee was not paid. Fourth, " +"the MPAA argued that the bill would impose \"enormous\" costs, since a " +"registration system is not free. True enough, but those costs are certainly " +"less than the costs of clearing the rights for a copyright whose owner is " +"not known. Fifth, they worried about the risks if the copyright to a story " +"underlying a film were to pass into the public domain. But what risk is " +"that? If it is in the public domain, then the film is a valid derivative use." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Finally, the MPAA argued that existing law enabled copyright owners to do " +"this if they wanted. But the whole point is that there are thousands of " +"copyright owners who don't even know they have a copyright to give. Whether " +"they are free to give away their copyright or not--a controversial claim in " +"any case--unless they know about a copyright, they're not likely to." +msgstr "" +"Endelig, mpaa hevdet at eksisterende lov aktivert opphavsrett eiere til Ã¥ " +"gjøre dette hvis de ville. men hele poenget er at det er tusenvis av " +"opphavsrett eiere som ikke selv vet de har opphavsretten til Ã¥ gi. enten de " +"er fri til Ã¥ gi bort deres copyright eller ikke--kontroversielle krav i alle " +"fall--hvis de ikke kjenner om opphavsretten, sannsynligvis de ikke." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"At the beginning of this book, I told two stories about the law reacting to " +"changes in technology. In the one, common sense prevailed. In the other, " +"common sense was delayed. The difference between the two stories was the " +"power of the opposition--the power of the side that fought to defend the " +"status quo. In both cases, a new technology threatened old interests. But in " +"only one case did those interest's have the power to protect themselves " +"against this new competitive threat." +msgstr "" +"i begynnelsen av denne boken fortalte jeg to historier om loven reagerer pÃ¥ " +"endringer i teknologi. i den prevailed sunn fornuft. i den andre, ble sunn " +"fornuft forsinket. forskjellen mellom to historiene var strømmen av " +"opposisjonen--kraften til siden som kjempet for Ã¥ forsvare status quo. i " +"begge tilfeller truet en ny teknologi gamle interesser. men i bare ett " +"tilfelle gjorde de interessen har makt til Ã¥ beskytte seg mot denne nye " +"konkurransedyktig trusselen." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"I used these two cases as a way to frame the war that this book has been " +"about. For here, too, a new technology is forcing the law to react. And " +"here, too, we should ask, is the law following or resisting common sense? If " +"common sense supports the law, what explains this common sense?" +msgstr "" +"Jeg brukte disse to tilfellene som en mÃ¥te Ã¥ ramme som denne boken har vært " +"om krigen. for her, ogsÃ¥, er en ny teknologi tvinge lov til Ã¥ reagere. og " +"her vi bør spørre, ogsÃ¥, er loven etter eller motsette sunn fornuft? Hvis " +"sunn fornuft støtter loven, forklarer hva denne sunn fornuft?" + +#. PAGE BREAK 262 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When the issue is piracy, it is right for the law to back the copyright " +"owners. The commercial piracy that I described is wrong and harmful, and the " +"law should work to eliminate it. When the issue is p2p sharing, it is easy " +"to understand why the law backs the owners still: Much of this sharing is " +"wrong, even if much is harmless. When the issue is copyright terms for the " +"Mickey Mouses of the world, it is possible still to understand why the law " +"favors Hollywood: Most people don't recognize the reasons for limiting " +"copyright terms; it is thus still possible to see good faith within the " +"resistance." +msgstr "" +"NÃ¥r problemet er piratkopiering, er det riktig for loven tilbake opphavsrett " +"eierne. kommersielle piratkopiering som jeg beskrevet er galt og skadelig, " +"og loven bør arbeide for Ã¥ fjerne den. NÃ¥r problemet er p2p deling, det er " +"lett Ã¥ forstÃ¥ hvorfor loven backs eierne fortsatt: mye av denne deling er " +"feil, selv om mye er harmløse. NÃ¥r problemet er copyright vilkÃ¥r for Mikke " +"Mus av verden, er det mulig for fortsatt Ã¥ forstÃ¥ hvorfor loven favoriserer " +"hollywood: de fleste folk ikke gjenkjenner Ã¥rsakene til Ã¥ begrense " +"opphavsrett vilkÃ¥r; Det er derfor fremdeles mulig Ã¥ se god tro i motstanden." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"But when the copyright owners oppose a proposal such as the Eldred Act, " +"then, finally, there is an example that lays bare the naked selfinterest " +"driving this war. This act would free an extraordinary range of content that " +"is otherwise unused. It wouldn't interfere with any copyright owner's desire " +"to exercise continued control over his content. It would simply liberate " +"what Kevin Kelly calls the \"Dark Content\" that fills archives around the " +"world. So when the warriors oppose a change like this, we should ask one " +"simple question:" +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "What does this industry really want?" +msgstr "Hva denne industrien virkelig vil?" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"With very little effort, the warriors could protect their content. So the " +"effort to block something like the Eldred Act is not really about protecting " +"their content. The effort to block the Eldred Act is an effort to assure " +"that nothing more passes into the public domain. It is another step to " +"assure that the public domain will never compete, that there will be no use " +"of content that is not commercially controlled, and that there will be no " +"commercial use of content that doesn't require their permission first." +msgstr "" +"med svært liten innsats, kunne warriors beskytte deres innhold. sÃ¥ innsatsen " +"for Ã¥ blokkere noe som eldred loven er ikke virkelig om Ã¥ beskytte sitt " +"innhold. innsatsen for Ã¥ blokkere eldred loven er et forsøk pÃ¥ Ã¥ sikre at " +"ingenting mer passerer i public domain. Det er et skritt for Ã¥ sikre at den " +"offentlige sfæren vil aldri konkurrere, at det vil være ingen bruk av " +"innhold som ikke er kommersielt kontrollert, og at det vil være ingen " +"kommersiell bruk av innhold som ikke krever at deres tillatelse først." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The opposition to the Eldred Act reveals how extreme the other side is. The " +"most powerful and sexy and well loved of lobbies really has as its aim not " +"the protection of \"property\" but the rejection of a tradition. Their aim " +"is not simply to protect what is theirs. Their aim is to assure that all " +"there is is what is theirs." +msgstr "" + +#. PAGE BREAK 263 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"It is not hard to understand why the warriors take this view. It is not hard " +"to see why it would benefit them if the competition of the public domain " +"tied to the Internet could somehow be quashed. Just as RCA feared the " +"competition of FM, they fear the competition of a public domain connected to " +"a public that now has the means to create with it and to share its own " +"creation." +msgstr "" +"Det er ikke vanskelig Ã¥ forstÃ¥ hvorfor warriors ta denne visningen. Det er " +"ikke vanskelig Ã¥ se hvorfor det ville ha nytte dem. Hvis kunne noe ødela " +"konkurransen av den offentlige sfæren knyttet til Internett. akkurat som rca " +"fryktet konkurransen av fm, frykter de konkurransen av et offentlig-domene " +"som er koblet til et offentlig som nÃ¥ har mulighet til Ã¥ opprette med det og " +"dele sin egen etablering." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"What is hard to understand is why the public takes this view. It is as if " +"the law made airplanes trespassers. The MPAA stands with the Causbys and " +"demands that their remote and useless property rights be respected, so that " +"these remote and forgotten copyright holders might block the progress of " +"others." +msgstr "" +"Hva er vanskelig Ã¥ forstÃ¥ er grunnen til at offentligheten tar denne " +"visningen. Det er som om loven gjort fly trespassers. mpaa stÃ¥r med causbys " +"og krav at deres ekstern og unyttig eiendomsrettigheter bli respektert, slik " +"at disse eksterne og glemt innehaver av opphavsrett kan blokkere fremdriften " +"for andre." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"All this seems to follow easily from this untroubled acceptance of the " +"\"property\" in intellectual property. Common sense supports it, and so long " +"as it does, the assaults will rain down upon the technologies of the " +"Internet. The consequence will be an increasing \"permission society.\" The " +"past can be cultivated only if you can identify the owner and gain " +"permission to build upon his work. The future will be controlled by this " +"dead (and often unfindable) hand of the past." +msgstr "" + +#. type: Content of: <book><chapter><title> +msgid "CONCLUSION" +msgstr "konklusjon" + +#. type: Content of: <book><chapter><para> +msgid "" +"There are more than 35 million people with the AIDS virus worldwide. Twenty-" +"five million of them live in sub-Saharan Africa. Seventeen million have " +"already died. Seventeen million Africans is proportional percentage-wise to " +"seven million Americans. More importantly, it is seventeen million Africans." +msgstr "" +"Det er mer enn 35 millioner mennesker med aids-viruset over hele verden. " +"tyve - fem millioner av dem bor i Subsaharisk Afrika. sytten millioner har " +"allerede døde. sytten millioner afrikanere er proporsjonal percentage-wise " +"syv millioner amerikanere. enda viktigere er det 17 millioner afrikanere." + +#. type: Content of: <book><chapter><para> +msgid "" +"There is no cure for AIDS, but there are drugs to slow its progression. " +"These antiretroviral therapies are still experimental, but they have already " +"had a dramatic effect. In the United States, AIDS patients who regularly " +"take a cocktail of these drugs increase their life expectancy by ten to " +"twenty years. For some, the drugs make the disease almost invisible." +msgstr "" +"Det er ingen kur for aids, men det er narkotika Ã¥ redusere sin progresjon. " +"disse antiretroviral terapi er fortsatt eksperimentelle, men de har allerede " +"hatt en dramatisk effekt. i USA øke aids-pasienter som regelmessig tar en " +"cocktail av disse stoffene deres levealder ved ti til tjue Ã¥r. for noen " +"gjøre narkotika sykdommen nesten usynlig." + +#. f1. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Commission on Intellectual Property Rights, \"Final Report: Integrating " +"Intellectual Property Rights and Development Policy\" (London, 2002), " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #55</ulink>. " +"According to a World Health Organization press release issued 9 July 2002, " +"only 230,000 of the 6 million who need drugs in the developing world receive " +"them--and half of them are in Brazil." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"These drugs are expensive. When they were first introduced in the United " +"States, they cost between $10,000 and $15,000 per person per year. Today, " +"some cost $25,000 per year. At these prices, of course, no African nation " +"can afford the drugs for the vast majority of its population: $15,000 is " +"thirty times the per capita gross national product of Zimbabwe. At these " +"prices, the drugs are totally unavailable.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" + +#. PAGE BREAK 265 +#. type: Content of: <book><chapter><para> +msgid "" +"These prices are not high because the ingredients of the drugs are " +"expensive. These prices are high because the drugs are protected by patents. " +"The drug companies that produced these life-saving mixes enjoy at least a " +"twenty-year monopoly for their inventions. They use that monopoly power to " +"extract the most they can from the market. That power is in turn used to " +"keep the prices high." +msgstr "" +"disse prisene er ikke høy fordi ingrediensene av narkotika er dyrt. disse " +"prisene er høy fordi narkotika er beskyttet av patenter. stoffet selskaper " +"som produsert disse livreddende blander nyte minst tjue Ã¥r monopol pÃ¥ sine " +"oppfinnelser. de bruker den monopol makten til Ã¥ trekke ut mest de kan fra " +"markedet. den kraften i sin tur til Ã¥ holde prisene som er høy." + +#. type: Content of: <book><chapter><para> +msgid "" +"There are many who are skeptical of patents, especially drug patents. I am " +"not. Indeed, of all the areas of research that might be supported by " +"patents, drug research is, in my view, the clearest case where patents are " +"needed. The patent gives the drug company some assurance that if it is " +"successful in inventing a new drug to treat a disease, it will be able to " +"earn back its investment and more. This is socially an extremely valuable " +"incentive. I am the last person who would argue that the law should abolish " +"it, at least without other changes." +msgstr "" +"Det er mange som er skeptiske til patenter, spesielt narkotika patenter. jeg " +"er ikke. faktisk av alle omrÃ¥der av forskning som kan være støttet av " +"patenter, er drug research, etter min mening, klareste tilfelle der patenter " +"er nødvendig. patent gir farmasøytisk firma noen forsikring om at hvis det " +"er vellykket i inventing et nytt medikament for Ã¥ behandle en sykdom, vil " +"det kunne tjene tilbake sine investeringer og mer. Dette er sosialt et " +"ekstremt verdifullt insentiv. Jeg er den siste personen som vil hevde at " +"loven skal avskaffe det, i det minste uten andre endringer." + +#. type: Content of: <book><chapter><para> +msgid "" +"But it is one thing to support patents, even drug patents. It is another " +"thing to determine how best to deal with a crisis. And as African leaders " +"began to recognize the devastation that AIDS was bringing, they started " +"looking for ways to import HIV treatments at costs significantly below the " +"market price." +msgstr "" +"men det er én ting Ã¥ støtte patenter, selv stoffet patenter. Det er en annen " +"ting Ã¥ vurdere den beste mÃ¥ten Ã¥ hÃ¥ndtere en krise. og som afrikanske ledere " +"begynte Ã¥ gjenkjenne ødeleggelsen aids var bringe, de begynte pÃ¥ utkikk " +"etter mÃ¥ter Ã¥ importere hiv behandlinger pÃ¥ kostnader betydelig under " +"markedspris." + +#. f2. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the " +"Knowledge Economy? (New York: The New Press, 2003), 37." +msgstr "" +"se peter drahos med john braithwaite, informasjon Føydalisme: hvem som eier " +"knowledge economy? (new york: ny press, 2003), 37." + +#. type: Content of: <book><chapter><para> +msgid "" +"In 1997, South Africa tried one tack. It passed a law to allow the " +"importation of patented medicines that had been produced or sold in another " +"nation's market with the consent of the patent owner. For example, if the " +"drug was sold in India, it could be imported into Africa from India. This is " +"called \"parallel importation,\" and it is generally permitted under " +"international trade law and is specifically permitted within the European " +"Union.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f3. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"International Intellectual Property Institute (IIPI), Patent Protection and " +"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared " +"for the World Intellectual Property Organization (Washington, D.C., 2000), " +"14, available at <ulink url=\"http://free-culture.cc/notes/\">link #56</" +"ulink>. For a firsthand account of the struggle over South Africa, see " +"Hearing Before the Subcommittee on Criminal Justice, Drug Policy, and Human " +"Resources, House Committee on Government Reform, H. Rep., 1st sess., Ser. " +"No. 106-126 (22 July 1999), 150­57 (statement of James Love)." +msgstr "" + +#. f4. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"International Intellectual Property Institute (IIPI), Patent Protection and " +"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared " +"for the World Intellectual Property Organization (Washington, D.C., 2000), " +"15." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"However, the United States government opposed the bill. Indeed, more than " +"opposed. As the International Intellectual Property Association " +"characterized it, \"The U.S. government pressured South Africa . . . not to " +"permit compulsory licensing or parallel imports.\"<placeholder type=" +"\"footnote\" id=\"0\"/> Through the Office of the United States Trade " +"Representative, the government asked South Africa to change the law--and to " +"add pressure to that request, in 1998, the USTR listed South Africa for " +"possible trade sanctions. That same year, more than forty pharmaceutical " +"companies began proceedings in the South African courts to challenge the " +"government's actions. The United States was then joined by other governments " +"from the EU. Their claim, and the claim of the pharmaceutical companies, was " +"that South Africa was violating its obligations under international law by " +"discriminating against a particular kind of patent-- pharmaceutical patents. " +"The demand of these governments, with the United States in the lead, was " +"that South Africa respect these patents as it respects any other patent, " +"regardless of any effect on the treatment of AIDS within South Africa." +"<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"We should place the intervention by the United States in context. No doubt " +"patents are not the most important reason that Africans don't have access to " +"drugs. Poverty and the total absence of an effective health care " +"infrastructure matter more. But whether patents are the most important " +"reason or not, the price of drugs has an effect on their demand, and patents " +"affect price. And so, whether massive or marginal, there was an effect from " +"our government's intervention to stop the flow of medications into Africa." +msgstr "" +"Vi bør sette intervensjon av USA i sammenheng. ingen tvil om er patenter " +"ikke den viktigste grunnen at afrikanere ikke har tilgang til narkotika. " +"fattigdom og det totale fraværet av en effektiv helsevesenet infrastruktur " +"saken mer. men om patenter er den viktigste Ã¥rsaken eller ikke, prisen pÃ¥ " +"narkotika har en effekt pÃ¥ deres behov, og patenter pÃ¥virker prisen. og sÃ¥, " +"om massiv eller marginale, det var en effekt fra vÃ¥r regjering intervensjon " +"til Ã¥ stoppe flyten av medikamenter i Afrika." + +#. type: Content of: <book><chapter><para> +msgid "" +"By stopping the flow of HIV treatment into Africa, the United States " +"government was not saving drugs for United States citizens. This is not " +"like wheat (if they eat it, we can't); instead, the flow that the United " +"States intervened to stop was, in effect, a flow of knowledge: information " +"about how to take chemicals that exist within Africa, and turn those " +"chemicals into drugs that would save 15 to 30 million lives." +msgstr "" +"ved Ã¥ stoppe flyten av hiv-behandling i Afrika, var myndighetene i USA ikke " +"redde narkotika for USA borgere. Dette er ikke som hvete (Hvis de spise det, " +"kan vi ikke); i stedet, som USA intervenerte for Ã¥ stoppe flyten var " +"faktisk, en flyt av kunnskap: informasjon om hvordan du ta kjemikalier som " +"finnes i Afrika, og slÃ¥ disse kjemikalier i stoffer som vil spare 15 til 30 " +"millioner liv." + +#. type: Content of: <book><chapter><para> +msgid "" +"Nor was the intervention by the United States going to protect the profits " +"of United States drug companies--at least, not substantially. It was not as " +"if these countries were in the position to buy the drugs for the prices the " +"drug companies were charging. Again, the Africans are wildly too poor to " +"afford these drugs at the offered prices. Stopping the parallel import of " +"these drugs would not substantially increase the sales by U.S. companies." +msgstr "" +"heller ikke var intervensjon av den USA kommer til Ã¥ beskytte fortjeneste av " +"USA stoffet selskaper--minst, ikke betydelig. Det var ikke som om disse " +"landene var i posisjon til Ã¥ kjøpe narkotika for prisene stoffet selskaper " +"ble lading. igjen er afrikanere vill for dÃ¥rlig til Ã¥ ha rÃ¥d til disse " +"stoffene til tilbys priser. stoppe parallellimport av disse stoffene ville " +"ikke øke betydelig salg etter amerikanske selskaper." + +#. f5. +#. PAGE BREAK 333 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Sabin Russell, \"New Crusade to Lower AIDS Drug Costs: Africa's Needs at " +"Odds with Firms' Profit Motive,\" San Francisco Chronicle, 24 May 1999, A1, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #57</ulink> " +"(\"compulsory licenses and gray markets pose a threat to the entire system " +"of intellectual property protection\"); Robert Weissman, \"AIDS and " +"Developing Countries: Democratizing Access to Essential Medicines,\" Foreign " +"Policy in Focus 4:23 (August 1999), available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #58</ulink> (describing U.S. policy); John A. " +"Harrelson, \"TRIPS, Pharmaceutical Patents, and the HIV/AIDS Crisis: Finding " +"the Proper Balance Between Intellectual Property Rights and Compassion, a " +"Synopsis,\" Widener Law Symposium Journal (Spring 2001): 175." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Instead, the argument in favor of restricting this flow of information, " +"which was needed to save the lives of millions, was an argument about the " +"sanctity of property.<placeholder type=\"footnote\" id=\"0\"/> It was " +"because \"intellectual property\" would be violated that these drugs should " +"not flow into Africa. It was a principle about the importance of " +"\"intellectual property\" that led these government actors to intervene " +"against the South African response to AIDS." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Now just step back for a moment. There will be a time thirty years from now " +"when our children look back at us and ask, how could we have let this " +"happen? How could we allow a policy to be pursued whose direct cost would be " +"to speed the death of 15 to 30 million Africans, and whose only real benefit " +"would be to uphold the \"sanctity\" of an idea? What possible justification " +"could there ever be for a policy that results in so many deaths? What " +"exactly is the insanity that would allow so many to die for such an " +"abstraction?" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Some blame the drug companies. I don't. They are corporations. Their " +"managers are ordered by law to make money for the corporation. They push a " +"certain patent policy not because of ideals, but because it is the policy " +"that makes them the most money. And it only makes them the most money " +"because of a certain corruption within our political system-- a corruption " +"the drug companies are certainly not responsible for." +msgstr "" +"Noen skylden stoffet selskaper. jeg gjør ikke. de er selskaper. deres ledere " +"er organisert etter loven, Ã¥ tjene penger for corporation. de push en " +"bestemt patent policy ikke pÃ¥ grunn av idealer, men fordi det er politikken " +"som gjør dem mest penger. og det bare gjør dem mest penger pÃ¥ grunn av en " +"bestemt korrupsjon i vÃ¥re politiske systemet--en skade stoffet selskaper " +"ikke er absolutt ansvarlige for." + +#. type: Content of: <book><chapter><para> +msgid "" +"The corruption is our own politicians' failure of integrity. For the drug " +"companies would love--they say, and I believe them--to sell their drugs as " +"cheaply as they can to countries in Africa and elsewhere. There are issues " +"they'd have to resolve to make sure the drugs didn't get back into the " +"United States, but those are mere problems of technology. They could be " +"overcome." +msgstr "" +"korrupsjon er vÃ¥r egen politikeres svikt i integritet. for stoffet selskaper " +"ville elske--de sier, og jeg tror dem – Ã¥ selge sine narkotika sÃ¥ billig som " +"de kan til land i Afrika og andre steder. Det er problemer de mÃ¥ løse Ã¥ " +"sikre at narkotika ikke komme tilbake i USA, men de er bare problemer av " +"teknologi. de kan bli overvunnet." + +#. PAGE BREAK 268 +#. type: Content of: <book><chapter><para> +msgid "" +"A different problem, however, could not be overcome. This is the fear of the " +"grandstanding politician who would call the presidents of the drug companies " +"before a Senate or House hearing, and ask, \"How is it you can sell this HIV " +"drug in Africa for only $1 a pill, but the same drug would cost an American " +"$1,500?\" Because there is no \"sound bite\" answer to that question, its " +"effect would be to induce regulation of prices in America. The drug " +"companies thus avoid this spiral by avoiding the first step. They reinforce " +"the idea that property should be sacred. They adopt a rational strategy in " +"an irrational context, with the unintended consequence that perhaps millions " +"die. And that rational strategy thus becomes framed in terms of this ideal--" +"the sanctity of an idea called \"intellectual property.\"" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"So when the common sense of your child confronts you, what will you say? " +"When the common sense of a generation finally revolts against what we have " +"done, how will we justify what we have done? What is the argument?" +msgstr "" +"sÃ¥ nÃ¥r at sunn fornuft til ditt barns konfronterer du, hva vil du si? NÃ¥r " +"felles-følelse av en generasjon endelig opprør mot hva vi har gjort, hvordan " +"vil vi rettferdiggjøre hva vi har gjort? Hva er argumentet?" + +#. type: Content of: <book><chapter><para> +msgid "" +"A sensible patent policy could endorse and strongly support the patent " +"system without having to reach everyone everywhere in exactly the same way. " +"Just as a sensible copyright policy could endorse and strongly support a " +"copyright system without having to regulate the spread of culture perfectly " +"and forever, a sensible patent policy could endorse and strongly support a " +"patent system without having to block the spread of drugs to a country not " +"rich enough to afford market prices in any case. A sensible policy, in other " +"words, could be a balanced policy. For most of our history, both copyright " +"and patent policies were balanced in just this sense." +msgstr "" +"en fornuftig patent policy kan godkjenner og støtter patentsystemet uten Ã¥ " +"nÃ¥ alle overalt pÃ¥ nøyaktig samme mÃ¥te. akkurat som en fornuftig copyright " +"policy kan godkjenner og støtter en opphavsretten til systemet uten Ã¥ mÃ¥tte " +"regulerer spredning av kultur perfekt og for evig, kan en fornuftig patent " +"policy godkjenner og støtter en patentsystemet uten Ã¥ blokkere spredning av " +"narkotika til et land som ikke er rike nok til Ã¥ ha rÃ¥d til markedspriser i " +"alle fall. en fornuftig politikk, med andre ord, kan være en balansert " +"policy. for de fleste av vÃ¥r historie, var bÃ¥de om opphavsrett og patent " +"politikk balansert i bare denne forstand." + +#. PAGE BREAK 269 +#. type: Content of: <book><chapter><para> +msgid "" +"But we as a culture have lost this sense of balance. We have lost the " +"critical eye that helps us see the difference between truth and extremism. " +"A certain property fundamentalism, having no connection to our tradition, " +"now reigns in this culture--bizarrely, and with consequences more grave to " +"the spread of ideas and culture than almost any other single policy decision " +"that we as a democracy will make. A simple idea blinds us, and under the " +"cover of darkness, much happens that most of us would reject if any of us " +"looked. So uncritically do we accept the idea of property in ideas that we " +"don't even notice how monstrous it is to deny ideas to a people who are " +"dying without them. So uncritically do we accept the idea of property in " +"culture that we don't even question when the control of that property " +"removes our ability, as a people, to develop our culture democratically. " +"Blindness becomes our common sense. And the challenge for anyone who would " +"reclaim the right to cultivate our culture is to find a way to make this " +"common sense open its eyes." +msgstr "" +"men vi som en kultur har mistet denne følelse av balanse. Vi har mistet blir " +"kritisk blikk som hjelper oss med Ã¥ se forskjellen mellom sannheten og " +"ekstremisme. en bestemt egenskap fundamentalisme, har ingen forbindelse til " +"vÃ¥r tradisjon, hersker nÃ¥ i denne kulturen--bizarrely, og med konsekvenser " +"som er mer alvorlig til spredning av ideer og kultur enn nesten alle andre " +"enkelt policyen beslutning som vi som et demokrati vil gjøre. en enkel idé " +"gjorde oss blinde, og under dekke av mørke, mye skjer at de fleste av oss " +"vil avvise hvis noen av oss sÃ¥. sÃ¥ kritikkløst aksepterer vi ideen om " +"eiendom i ideer at vi ikke engang merke til hvordan kjempestor det er Ã¥ " +"nekte ideer til et folk som er døende uten dem. sÃ¥ kritikkløst aksepterer vi " +"ideen om eiendom i kultur at vi ikke selv spørsmÃ¥let nÃ¥r kontroll av " +"egenskapen fjerner vÃ¥r evne, som mennesker, Ã¥ utvikle vÃ¥r kultur " +"demokratisk. blindhet blir vÃ¥re sunn fornuft. og utfordringen for alle som " +"ville gjenvinne retten til Ã¥ dyrke vÃ¥r kultur er Ã¥ finne en mÃ¥te Ã¥ gjøre " +"dette sunn fornuft Ã¥pne sine øyne." + +#. type: Content of: <book><chapter><para> +msgid "" +"So far, common sense sleeps. There is no revolt. Common sense does not yet " +"see what there could be to revolt about. The extremism that now dominates " +"this debate fits with ideas that seem natural, and that fit is reinforced by " +"the RCAs of our day. They wage a frantic war to fight \"piracy,\" and " +"devastate a culture for creativity. They defend the idea of \"creative " +"property,\" while transforming real creators into modern-day sharecroppers. " +"They are insulted by the idea that rights should be balanced, even though " +"each of the major players in this content war was itself a beneficiary of a " +"more balanced ideal. The hypocrisy reeks. Yet in a city like Washington, " +"hypocrisy is not even noticed. Powerful lobbies, complex issues, and MTV " +"attention spans produce the \"perfect storm\" for free culture." +msgstr "" + +#. f6. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, August " +"2003, E1, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#59</ulink>; William New, \"Global Group's Shift on `Open Source' Meeting " +"Spurs Stir,\" National Journal's Technology Daily, 19 August 2003, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; William " +"New, \"U.S. Official Opposes `Open Source' Talks at WIPO,\" National " +"Journal's Technology Daily, 19 August 2003, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #61</ulink>." +msgstr "" + +#. PAGE BREAK 270 +#. type: Content of: <book><chapter><para> +msgid "" +"In August 2003, a fight broke out in the United States about a decision by " +"the World Intellectual Property Organization to cancel a meeting." +"<placeholder type=\"footnote\" id=\"0\"/> At the request of a wide range of " +"interests, WIPO had decided to hold a meeting to discuss \"open and " +"collaborative projects to create public goods.\" These are projects that " +"have been successful in producing public goods without relying exclusively " +"upon a proprietary use of intellectual property. Examples include the " +"Internet and the World Wide Web, both of which were developed on the basis " +"of protocols in the public domain. It included an emerging trend to support " +"open academic journals, including the Public Library of Science project that " +"I describe in the Afterword. It included a project to develop single " +"nucleotide polymorphisms (SNPs), which are thought to have great " +"significance in biomedical research. (That nonprofit project comprised a " +"consortium of the Wellcome Trust and pharmaceutical and technological " +"companies, including Amersham Biosciences, AstraZeneca, Aventis, Bayer, " +"Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, IBM, Motorola, " +"Novartis, Pfizer, and Searle.) It included the Global Positioning System, " +"which Ronald Reagan set free in the early 1980s. And it included \"open " +"source and free software.\"" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"The aim of the meeting was to consider this wide range of projects from one " +"common perspective: that none of these projects relied upon intellectual " +"property extremism. Instead, in all of them, intellectual property was " +"balanced by agreements to keep access open or to impose limitations on the " +"way in which proprietary claims might be used." +msgstr "" +"mÃ¥let for møtet var Ã¥ vurdere dette rekke prosjekter fra én felles " +"perspektiv: at ingen av disse prosjektene som grunnlag for immaterielle " +"ekstremisme. i stedet i alle av dem, ble immaterielle balansert av avtaler Ã¥ " +"holde access Ã¥pne, eller for Ã¥ angi begrensninger for hvordan proprietære " +"krav kan brukes." + +#. f7. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"I should disclose that I was one of the people who asked WIPO for the " +"meeting." +msgstr "Jeg skal formidle at jeg var en av folk som ba wipo for møtet." + +#. type: Content of: <book><chapter><para> +msgid "" +"From the perspective of this book, then, the conference was ideal." +"<placeholder type=\"footnote\" id=\"0\"/> The projects within its scope " +"included both commercial and noncommercial work. They primarily involved " +"science, but from many perspectives. And WIPO was an ideal venue for this " +"discussion, since WIPO is the preeminent international body dealing with " +"intellectual property issues." +msgstr "" + +#. PAGE BREAK 271 +#. type: Content of: <book><chapter><para> +msgid "" +"Indeed, I was once publicly scolded for not recognizing this fact about " +"WIPO. In February 2003, I delivered a keynote address to a preparatory " +"conference for the World Summit on the Information Society (WSIS). At a " +"press conference before the address, I was asked what I would say. I " +"responded that I would be talking a little about the importance of balance " +"in intellectual property for the development of an information society. The " +"moderator for the event then promptly interrupted to inform me and the " +"assembled reporters that no question about intellectual property would be " +"discussed by WSIS, since those questions were the exclusive domain of WIPO. " +"In the talk that I had prepared, I had actually made the issue of " +"intellectual property relatively minor. But after this astonishing " +"statement, I made intellectual property the sole focus of my talk. There was " +"no way to talk about an \"Information Society\" unless one also talked about " +"the range of information and culture that would be free. My talk did not " +"make my immoderate moderator very happy. And she was no doubt correct that " +"the scope of intellectual property protections was ordinarily the stuff of " +"WIPO. But in my view, there couldn't be too much of a conversation about how " +"much intellectual property is needed, since in my view, the very idea of " +"balance in intellectual property had been lost." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"So whether or not WSIS can discuss balance in intellectual property, I had " +"thought it was taken for granted that WIPO could and should. And thus the " +"meeting about \"open and collaborative projects to create public goods\" " +"seemed perfectly appropriate within the WIPO agenda." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"But there is one project within that list that is highly controversial, at " +"least among lobbyists. That project is \"open source and free software.\" " +"Microsoft in particular is wary of discussion of the subject. From its " +"perspective, a conference to discuss open source and free software would be " +"like a conference to discuss Apple's operating system. Both open source and " +"free software compete with Microsoft's software. And internationally, many " +"governments have begun to explore requirements that they use open source or " +"free software, rather than \"proprietary software,\" for their own internal " +"uses." +msgstr "" + +#. f8. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Microsoft's position about free and open source software is more " +"sophisticated. As it has repeatedly asserted, it has no problem with \"open " +"source\" software or software in the public domain. Microsoft's principal " +"opposition is to \"free software\" licensed under a \"copyleft\" license, " +"meaning a license that requires the licensee to adopt the same terms on any " +"derivative work. See Bradford L. Smith, \"The Future of Software: Enabling " +"the Marketplace to Decide,\" Government Policy Toward Open Source Software " +"(Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, " +"American Enterprise Institute for Public Policy Research, 2002), 69, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #62</ulink>. " +"See also Craig Mundie, Microsoft senior vice president, The Commercial " +"Software Model, discussion at New York University Stern School of Business " +"(3 May 2001), available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#63</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"I don't mean to enter that debate here. It is important only to make clear " +"that the distinction is not between commercial and noncommercial software. " +"There are many important companies that depend fundamentally upon open " +"source and free software, IBM being the most prominent. IBM is increasingly " +"shifting its focus to the GNU/Linux operating system, the most famous bit of " +"\"free software\"--and IBM is emphatically a commercial entity. Thus, to " +"support \"open source and free software\" is not to oppose commercial " +"entities. It is, instead, to support a mode of software development that is " +"different from Microsoft's.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 272 +#. type: Content of: <book><chapter><para> +msgid "" +"More important for our purposes, to support \"open source and free software" +"\" is not to oppose copyright. \"Open source and free software\" is not " +"software in the public domain. Instead, like Microsoft's software, the " +"copyright owners of free and open source software insist quite strongly that " +"the terms of their software license be respected by adopters of free and " +"open source software. The terms of that license are no doubt different from " +"the terms of a proprietary software license. Free software licensed under " +"the General Public License (GPL), for example, requires that the source code " +"for the software be made available by anyone who modifies and redistributes " +"the software. But that requirement is effective only if copyright governs " +"software. If copyright did not govern software, then free software could not " +"impose the same kind of requirements on its adopters. It thus depends upon " +"copyright law just as Microsoft does." +msgstr "" + +#. f9. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Krim, \"The Quiet War over Open-Source,\" available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #64</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"It is therefore understandable that as a proprietary software developer, " +"Microsoft would oppose this WIPO meeting, and understandable that it would " +"use its lobbyists to get the United States government to oppose it, as well. " +"And indeed, that is just what was reported to have happened. According to " +"Jonathan Krim of the Washington Post, Microsoft's lobbyists succeeded in " +"getting the United States government to veto the meeting.<placeholder type=" +"\"footnote\" id=\"0\"/> And without U.S. backing, the meeting was canceled." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"I don't blame Microsoft for doing what it can to advance its own interests, " +"consistent with the law. And lobbying governments is plainly consistent with " +"the law. There was nothing surprising about its lobbying here, and nothing " +"terribly surprising about the most powerful software producer in the United " +"States having succeeded in its lobbying efforts." +msgstr "" +"jeg klandre ikke microsoft for Ã¥ gjøre det den kan for Ã¥ fremme sine egne " +"interesser, i samsvar med loven. og lobbyvirksomhet regjeringer er tydelig i " +"samsvar med loven. Det var ikke noe overraskende om sin lobbyvirksomhet her, " +"og ingenting veldig overraskende om den mektigste programvare produsenten i " +"USA har lyktes i sin lobbyvirksomhet innsats." + +#. type: Content of: <book><chapter><para> +msgid "" +"What was surprising was the United States government's reason for opposing " +"the meeting. Again, as reported by Krim, Lois Boland, acting director of " +"international relations for the U.S. Patent and Trademark Office, explained " +"that \"open-source software runs counter to the mission of WIPO, which is to " +"promote intellectual-property rights.\" She is quoted as saying, \"To hold a " +"meeting which has as its purpose to disclaim or waive such rights seems to " +"us to be contrary to the goals of WIPO.\"" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "These statements are astonishing on a number of levels." +msgstr "disse utsagnene er forbløffende pÃ¥ flere nivÃ¥er." + +#. type: Content of: <book><chapter><para> +msgid "" +"First, they are just flat wrong. As I described, most open source and free " +"software relies fundamentally upon the intellectual property right called " +"\"copyright.\" Without it, restrictions imposed by those licenses wouldn't " +"work. Thus, to say it \"runs counter\" to the mission of promoting " +"intellectual property rights reveals an extraordinary gap in understanding--" +"the sort of mistake that is excusable in a first-year law student, but an " +"embarrassment from a high government official dealing with intellectual " +"property issues." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Second, who ever said that WIPO's exclusive aim was to \"promote\" " +"intellectual property maximally? As I had been scolded at the preparatory " +"conference of WSIS, WIPO is to consider not only how best to protect " +"intellectual property, but also what the best balance of intellectual " +"property is. As every economist and lawyer knows, the hard question in " +"intellectual property law is to find that balance. But that there should be " +"limits is, I had thought, uncontested. One wants to ask Ms. Boland, are " +"generic drugs (drugs based on drugs whose patent has expired) contrary to " +"the WIPO mission? Does the public domain weaken intellectual property? Would " +"it have been better if the protocols of the Internet had been patented?" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Third, even if one believed that the purpose of WIPO was to maximize " +"intellectual property rights, in our tradition, intellectual property rights " +"are held by individuals and corporations. They get to decide what to do with " +"those rights because, again, they are their rights. If they want to \"waive" +"\" or \"disclaim\" their rights, that is, within our tradition, totally " +"appropriate. When Bill Gates gives away more than $20 billion to do good in " +"the world, that is not inconsistent with the objectives of the property " +"system. That is, on the contrary, just what a property system is supposed to " +"be about: giving individuals the right to decide what to do with their " +"property." +msgstr "" + +#. PAGE BREAK 274 +#. type: Content of: <book><chapter><para> +msgid "" +"When Ms. Boland says that there is something wrong with a meeting \"which " +"has as its purpose to disclaim or waive such rights,\" she's saying that " +"WIPO has an interest in interfering with the choices of the individuals who " +"own intellectual property rights. That somehow, WIPO's objective should be " +"to stop an individual from \"waiving\" or \"disclaiming\" an intellectual " +"property right. That the interest of WIPO is not just that intellectual " +"property rights be maximized, but that they also should be exercised in the " +"most extreme and restrictive way possible." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"There is a history of just such a property system that is well known in the " +"Anglo-American tradition. It is called \"feudalism.\" Under feudalism, not " +"only was property held by a relatively small number of individuals and " +"entities. And not only were the rights that ran with that property powerful " +"and extensive. But the feudal system had a strong interest in assuring that " +"property holders within that system not weaken feudalism by liberating " +"people or property within their control to the free market. Feudalism " +"depended upon maximum control and concentration. It fought any freedom that " +"might interfere with that control." +msgstr "" + +#. f10. +#. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "See Drahos with Braithwaite, Information Feudalism, 210­20." +msgid "See Drahos with Braithwaite, Information Feudalism, 210­20." +msgstr "se drahos med braithwaite, informasjon føydalisme, 210­20." + +#. type: Content of: <book><chapter><para> +msgid "" +"As Peter Drahos and John Braithwaite relate, this is precisely the choice we " +"are now making about intellectual property.<placeholder type=\"footnote\" id=" +"\"0\"/> We will have an information society. That much is certain. Our only " +"choice now is whether that information society will be free or feudal. The " +"trend is toward the feudal." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"When this battle broke, I blogged it. A spirited debate within the comment " +"section ensued. Ms. Boland had a number of supporters who tried to show why " +"her comments made sense. But there was one comment that was particularly " +"depressing for me. An anonymous poster wrote," +msgstr "" +"NÃ¥r denne kampen brøt, jeg blogged det. en dristig debatt i kommentar-delen " +"ensued. MS. boland hadde en rekke tilhengere som prøvde Ã¥ vise hvorfor " +"hennes Kommentarer gjort forstand. men det var en kommentar som var spesielt " +"deprimerende for meg. skrev en anonym plakat," + +#. PAGE BREAK 275 +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"George, you misunderstand Lessig: He's only talking about the world as it " +"should be (\"the goal of WIPO, and the goal of any government, should be to " +"promote the right balance of intellectualproperty rights, not simply to " +"promote intellectual property rights\"), not as it is. If we were talking " +"about the world as it is, then of course Boland didn't say anything wrong. " +"But in the world as Lessig would have it, then of course she did. Always pay " +"attention to the distinction between Lessig's world and ours." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"I missed the irony the first time I read it. I read it quickly and thought " +"the poster was supporting the idea that seeking balance was what our " +"government should be doing. (Of course, my criticism of Ms. Boland was not " +"about whether she was seeking balance or not; my criticism was that her " +"comments betrayed a first-year law student's mistake. I have no illusion " +"about the extremism of our government, whether Republican or Democrat. My " +"only illusion apparently is about whether our government should speak the " +"truth or not.)" +msgstr "" +"Jeg savnet den ironi først gangen jeg leste den. jeg lese det raskt og " +"trodde plakaten var støtter ideen om at søker balansen var hva vÃ¥r regjering " +"bør gjøre. (selvfølgelig, min kritikk av ms. Boland var ikke om om hun var " +"søker balansen eller ikke; min kritikk var at hennes kommentarer forrÃ¥dt en " +"første Ã¥ret law student-feil. Jeg har noen illusjon om ekstremisme av vÃ¥r " +"regjering om republikaner eller demokrat. min eneste illusjon angivelig er " +"om om vÃ¥r regjering bør snakke sannheten eller ikke.)" + +#. type: Content of: <book><chapter><para> +msgid "" +"Obviously, however, the poster was not supporting that idea. Instead, the " +"poster was ridiculing the very idea that in the real world, the \"goal\" of " +"a government should be \"to promote the right balance\" of intellectual " +"property. That was obviously silly to him. And it obviously betrayed, he " +"believed, my own silly utopianism. \"Typical for an academic,\" the poster " +"might well have continued." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"I understand criticism of academic utopianism. I think utopianism is silly, " +"too, and I'd be the first to poke fun at the absurdly unrealistic ideals of " +"academics throughout history (and not just in our own country's history)." +msgstr "" +"Jeg forstÃ¥r kritikk av akademisk utopianism. Jeg tror utopianism er dum, " +"ogsÃ¥, og jeg vil være først til Ã¥ rote det gøy pÃ¥ absurd urealistisk idealer " +"akademikere gjennom historien (og ikke bare i vÃ¥rt eget land historie)." + +#. type: Content of: <book><chapter><para> +#, fuzzy +#| msgid "" +#| "But when it has become silly to suppose that the role of our government " +#| "should be to \\\"seek balance,\\\" then count me with the silly, for that " +#| "means that this has become quite serious indeed. If it should be obvious " +#| "to everyone that the government does not seek balance, that the " +#| "government is simply the tool of the most powerful lobbyists, that the " +#| "idea of holding the government to a different standard is absurd, that " +#| "the idea of demanding of the government that it speak truth and not lies " +#| "is just naïve, then who have we, the most powerful democracy in the " +#| "world, become?" +msgid "" +"But when it has become silly to suppose that the role of our government " +"should be to \"seek balance,\" then count me with the silly, for that means " +"that this has become quite serious indeed. If it should be obvious to " +"everyone that the government does not seek balance, that the government is " +"simply the tool of the most powerful lobbyists, that the idea of holding the " +"government to a different standard is absurd, that the idea of demanding of " +"the government that it speak truth and not lies is just naïve, then who have " +"we, the most powerful democracy in the world, become?" +msgstr "" +"men nÃ¥r det har blitt dum Ã¥ anta at rollen som vÃ¥r regjering bør være Ã¥ \\" +"\"søke balanse\\\", deretter teller meg med dum, for det betyr at dette har " +"blitt ganske alvorlig faktisk. Hvis det skal være klart for alle at " +"regjeringen ikke søker balanse, at regjeringen er ganske enkelt de mektigste " +"lobbyister verktøyet, at ideen om Ã¥ holde regjeringen Ã¥ en annen standard er " +"absurd, at ideen om krevende av regjeringen at det taler sannheten og ikke " +"løgn er bare naiv, og som har vi, det mektigste demokratiet i verden, bli?" + +#. PAGE BREAK 276 +#. type: Content of: <book><chapter><para> +msgid "" +"It might be crazy to expect a high government official to speak the truth. " +"It might be crazy to believe that government policy will be something more " +"than the handmaiden of the most powerful interests. It might be crazy to " +"argue that we should preserve a tradition that has been part of our " +"tradition for most of our history--free culture." +msgstr "" +"Det kan være gal Ã¥ forvente en høy regjeringen offisielle Ã¥ si sannheten. " +"Det kan være gal Ã¥ tro at regjeringens politikk blir noe mer enn handmaiden " +"av de mektigste interessene. Det kan være gal Ã¥ argumentere at vi skal " +"bevare en tradisjon som har vært en del av vÃ¥r tradisjon for de fleste av " +"vÃ¥r historie--fri kultur." + +#. type: Content of: <book><chapter><para> +msgid "" +"If this is crazy, then let there be more crazies. Soon. There are moments " +"of hope in this struggle. And moments that surprise. When the FCC was " +"considering relaxing ownership rules, which would thereby further increase " +"the concentration in media ownership, an extraordinary bipartisan coalition " +"formed to fight this change. For perhaps the first time in history, " +"interests as diverse as the NRA, the ACLU, Moveon.org, William Safire, Ted " +"Turner, and CodePink Women for Peace organized to oppose this change in FCC " +"policy. An astonishing 700,000 letters were sent to the FCC, demanding more " +"hearings and a different result." +msgstr "" +"Hvis dette er gal, sÃ¥ la det være mer crazies. snart. Det er øyeblikk av hÃ¥p " +"i denne kampen. og øyeblikk som overraske. NÃ¥r fcc var vurderer avslappende " +"eierskap regler, som ville dermed ytterligere øke konsentrasjon i media " +"eierskap, en ekstraordinære bipartisan koalisjon dannet for Ã¥ bekjempe denne " +"endringen. for kanskje første gang i historien, interesser sÃ¥ forskjellige " +"som nra, aclu, moveon.org, william safire, ted turner og codepink kvinner " +"for fred organisert til Ã¥ motsette seg denne endringen i fcc-policyen. en " +"forbløffende 700.000 bokstaver ble sendt til fcc, krever mer hearings og et " +"annet resultat." + +#. type: Content of: <book><chapter><para> +msgid "" +"This activism did not stop the FCC, but soon after, a broad coalition in the " +"Senate voted to reverse the FCC decision. The hostile hearings leading up to " +"that vote revealed just how powerful this movement had become. There was no " +"substantial support for the FCC's decision, and there was broad and " +"sustained support for fighting further concentration in the media." +msgstr "" +"Denne aktivisme stoppe ikke fcc, men snart etter en bred koalisjon i Senatet " +"stemte for Ã¥ reversere fcc-beslutning. fiendtlige hearings fører opp til at " +"stemme avslørte hvor kraftig denne bevegelsen hadde blitt. Det var ingen " +"betydelig støtte for fcc beslutning, og det var bred og vedvarende støtte " +"for Ã¥ bekjempe ytterligere konsentrasjon i media." + +#. type: Content of: <book><chapter><para> +msgid "" +"But even this movement misses an important piece of the puzzle. Largeness " +"as such is not bad. Freedom is not threatened just because some become very " +"rich, or because there are only a handful of big players. The poor quality " +"of Big Macs or Quarter Pounders does not mean that you can't get a good " +"hamburger from somewhere else." +msgstr "" +"men selv denne bevegelsen savner en viktig brikke i puslespillet. largeness " +"er som sÃ¥dan ikke ille. frihet er ikke truet bare fordi noen blir veldig " +"rik, eller fordi det er bare en hÃ¥ndfull store spillere. den dÃ¥rlige " +"kvaliteten pÃ¥ big Mac eller kvartal pounders betyr ikke at du ikke kan fÃ¥ en " +"god hamburger fra et annet sted." + +#. type: Content of: <book><chapter><para> +msgid "" +"The danger in media concentration comes not from the concentration, but " +"instead from the feudalism that this concentration, tied to the change in " +"copyright, produces. It is not just that there are a few powerful companies " +"that control an ever expanding slice of the media. It is that this " +"concentration can call upon an equally bloated range of rights--property " +"rights of a historically extreme form--that makes their bigness bad." +msgstr "" +"faren i media konsentrasjon kommer ikke fra konsentrasjonen, men i stedet " +"fra føydalisme som denne konsentrasjonen knyttet til endring i copyright, " +"produserer. Det er ikke bare at det er noen kraftige selskaper som styrer en " +"stadig voksende stykke media. Det er at denne konsentrasjonen kan pÃ¥kalle en " +"like oppsvulmet rekke rettigheter--eiendomsrettighetene til en historisk " +"ekstrem form--som gjør deres bigness dÃ¥rlig." + +#. type: Content of: <book><chapter><para> +msgid "" +"It is therefore significant that so many would rally to demand competition " +"and increased diversity. Still, if the rally is understood as being about " +"bigness alone, it is not terribly surprising. We Americans have a long " +"history of fighting \"big,\" wisely or not. That we could be motivated to " +"fight \"big\" again is not something new." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"It would be something new, and something very important, if an equal number " +"could be rallied to fight the increasing extremism built within the idea of " +"\"intellectual property.\" Not because balance is alien to our tradition; " +"indeed, as I've argued, balance is our tradition. But because the muscle to " +"think critically about the scope of anything called \"property\" is not well " +"exercised within this tradition anymore." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"If we were Achilles, this would be our heel. This would be the place of our " +"tragedy." +msgstr "" +"Hvis vi var achilles, ville dette være vÃ¥re hæl. Dette ville være stedet for " +"vÃ¥re tragedie." + +#. f11. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September " +"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</" +"ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, 8 " +"September 2003, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #66</ulink>; Soni Sangha and Phyllis Furman with Robert Gearty, " +"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" New York " +"Daily News, 9 September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits Meet " +"Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among " +"Defendants,\" Washington Post, 10 September 2003, E1; Katie Dean, " +"\"Schoolgirl Settles with RIAA,\" Wired News, 10 September 2003, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>." +msgstr "" + +#. f12. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Jon Wiederhorn, \"Eminem Gets Sued . . . by a Little Old Lady,\" mtv.com, 17 " +"September 2003, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #68</ulink>." +msgstr "" + +#. f13. +#. PAGE BREAK 334 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Kenji Hall, Associated Press, \"Japanese Book May Be Inspiration for Dylan " +"Songs,\" Kansascity.com, 9 July 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #69</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"As I write these final words, the news is filled with stories about the RIAA " +"lawsuits against almost three hundred individuals.<placeholder type=" +"\"footnote\" id=\"0\"/> Eminem has just been sued for \"sampling\" someone " +"else's music.<placeholder type=\"footnote\" id=\"1\"/> The story about Bob " +"Dylan \"stealing\" from a Japanese author has just finished making the " +"rounds.<placeholder type=\"footnote\" id=\"2\"/> An insider from Hollywood--" +"who insists he must remain anonymous--reports \"an amazing conversation with " +"these studio guys. They've got extraordinary [old] content that they'd love " +"to use but can't because they can't begin to clear the rights. They've got " +"scores of kids who could do amazing things with the content, but it would " +"take scores of lawyers to clean it first.\" Congressmen are talking about " +"deputizing computer viruses to bring down computers thought to violate the " +"law. Universities are threatening expulsion for kids who use a computer to " +"share content." +msgstr "" + +#. f14. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"\"BBC Plans to Open Up Its Archive to the Public,\" BBC press release, 24 " +"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#70</ulink>." +msgstr "" + +#. f15. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"\"Creative Commons and Brazil,\" Creative Commons Weblog, 6 August 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #71</ulink>." +msgstr "" + +#. PAGE BREAK 278 +#. type: Content of: <book><chapter><para> +msgid "" +"Yet on the other side of the Atlantic, the BBC has just announced that it " +"will build a \"Creative Archive,\" from which British citizens can download " +"BBC content, and rip, mix, and burn it.<placeholder type=\"footnote\" id=" +"\"0\"/> And in Brazil, the culture minister, Gilberto Gil, himself a folk " +"hero of Brazilian music, has joined with Creative Commons to release content " +"and free licenses in that Latin American country.<placeholder type=\"footnote" +"\" id=\"1\"/> I've told a dark story. The truth is more mixed. A technology " +"has given us a new freedom. Slowly, some begin to understand that this " +"freedom need not mean anarchy. We can carry a free culture into the twenty-" +"first century, without artists losing and without the potential of digital " +"technology being destroyed. It will take some thought, and more importantly, " +"it will take some will to transform the RCAs of our day into the Causbys." +msgstr "" + +#. PAGE BREAK 279 +#. type: Content of: <book><chapter><para> +msgid "" +"Common sense must revolt. It must act to free culture. Soon, if this " +"potential is ever to be realized." +msgstr "" +"sunn fornuft mÃ¥ opprør. Det mÃ¥ handle til fri kultur. snart, hvis dette " +"potensialet er stadig Ã¥ bli realisert." + +#. type: Content of: <book><chapter><title> +msgid "AFTERWORD" +msgstr "etterordet" + +#. PAGE BREAK 280 +#. type: Content of: <book><chapter><para> +msgid "" +"At least some who have read this far will agree with me that something must " +"be done to change where we are heading. The balance of this book maps what " +"might be done." +msgstr "" +"minst noen som har lest dette langt vil være enig med meg at noe mÃ¥ gjøres " +"hvis du vil endre hvor vi er pÃ¥ vei. saldoen pÃ¥ denne boken tilordner hva " +"kan gjøres." + +#. type: Content of: <book><chapter><para> +msgid "" +"I divide this map into two parts: that which anyone can do now, and that " +"which requires the help of lawmakers. If there is one lesson that we can " +"draw from the history of remaking common sense, it is that it requires " +"remaking how many people think about the very same issue." +msgstr "" +"jeg dele dette kartet i to deler: at som alle kan gjøre nÃ¥, og som krever " +"hjelp av lovgivere. Hvis det er en lærdom som vi kan trekke fra historien om " +"remaking sunn fornuft, er det at det krever remaking hvor mange mennesker " +"tenker om det samme problemet." + +#. type: Content of: <book><chapter><para> +msgid "" +"That means this movement must begin in the streets. It must recruit a " +"significant number of parents, teachers, librarians, creators, authors, " +"musicians, filmmakers, scientists--all to tell this story in their own " +"words, and to tell their neighbors why this battle is so important." +msgstr "" +"Det betyr at denne bevegelsen mÃ¥ begynne i gatene. Det mÃ¥ rekruttere et " +"betydelig antall foreldre, lærere, bibliotekarer, skaperne, forfattere, " +"musikere, filmskapere, forskere--alle for Ã¥ fortelle historien med egne ord " +"og Ã¥ fortelle sine naboer hvorfor denne kampen er sÃ¥ viktig." + +#. type: Content of: <book><chapter><para> +msgid "" +"Once this movement has its effect in the streets, it has some hope of having " +"an effect in Washington. We are still a democracy. What people think " +"matters. Not as much as it should, at least when an RCA stands opposed, but " +"still, it matters. And thus, in the second part below, I sketch changes that " +"Congress could make to better secure a free culture." +msgstr "" +"NÃ¥r denne bevegelsen har sin effekt i gatene, har det noe hÃ¥p om Ã¥ ha en " +"effekt i washington. Vi er fortsatt et demokrati. Hva folk tror saker. ikke " +"sÃ¥ mye som det skal, minst nÃ¥r en rca stÃ¥r imot, men likevel, det teller. og " +"sÃ¥ledes, i den andre delen nedenfor jeg skissere endringer som Kongressen " +"kan gjøre for Ã¥ sikre bedre en fri kultur." + +#. type: Content of: <book><chapter><sect1><title> +msgid "US, NOW" +msgstr "oss nÃ¥" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"Common sense is with the copyright warriors because the debate so far has " +"been framed at the extremes--as a grand either/or: either property or " +"anarchy, either total control or artists won't be paid. If that really is " +"the choice, then the warriors should win." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"The mistake here is the error of the excluded middle. There are extremes in " +"this debate, but the extremes are not all that there is. There are those who " +"believe in maximal copyright--\"All Rights Reserved\"-- and those who reject " +"copyright--\"No Rights Reserved.\" The \"All Rights Reserved\" sorts believe " +"that you should ask permission before you \"use\" a copyrighted work in any " +"way. The \"No Rights Reserved\" sorts believe you should be able to do with " +"content as you wish, regardless of whether you have permission or not." +msgstr "" + +#. PAGE BREAK 282 +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"When the Internet was first born, its initial architecture effectively " +"tilted in the \"no rights reserved\" direction. Content could be copied " +"perfectly and cheaply; rights could not easily be controlled. Thus, " +"regardless of anyone's desire, the effective regime of copyright under the " +"original design of the Internet was \"no rights reserved.\" Content was " +"\"taken\" regardless of the rights. Any rights were effectively unprotected." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"This initial character produced a reaction (opposite, but not quite equal) " +"by copyright owners. That reaction has been the topic of this book. Through " +"legislation, litigation, and changes to the network's design, copyright " +"holders have been able to change the essential character of the environment " +"of the original Internet. If the original architecture made the effective " +"default \"no rights reserved,\" the future architecture will make the " +"effective default \"all rights reserved.\" The architecture and law that " +"surround the Internet's design will increasingly produce an environment " +"where all use of content requires permission. The \"cut and paste\" world " +"that defines the Internet today will become a \"get permission to cut and " +"paste\" world that is a creator's nightmare." +msgstr "" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"What's needed is a way to say something in the middle--neither \"all rights " +"reserved\" nor \"no rights reserved\" but \"some rights reserved\"-- and " +"thus a way to respect copyrights but enable creators to free content as they " +"see fit. In other words, we need a way to restore a set of freedoms that we " +"could just take for granted before." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Rebuilding Freedoms Previously Presumed: Examples" +msgstr "Ã¥ gjenoppbygge friheter tidligere antatt: eksempler" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"If you step back from the battle I've been describing here, you will " +"recognize this problem from other contexts. Think about privacy. Before the " +"Internet, most of us didn't have to worry much about data about our lives " +"that we broadcast to the world. If you walked into a bookstore and browsed " +"through some of the works of Karl Marx, you didn't need to worry about " +"explaining your browsing habits to your neighbors or boss. The \"privacy\" " +"of your browsing habits was assured." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "What made it assured?" +msgstr "Hva gjorde det forsikret?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Well, if we think in terms of the modalities I described in chapter 10, your " +"privacy was assured because of an inefficient architecture for gathering " +"data and hence a market constraint (cost) on anyone who wanted to gather " +"that data. If you were a suspected spy for North Korea, working for the CIA, " +"no doubt your privacy would not be assured. But that's because the CIA " +"would (we hope) find it valuable enough to spend the thousands required to " +"track you. But for most of us (again, we can hope), spying doesn't pay. The " +"highly inefficient architecture of real space means we all enjoy a fairly " +"robust amount of privacy. That privacy is guaranteed to us by friction. Not " +"by law (there is no law protecting \"privacy\" in public places), and in " +"many places, not by norms (snooping and gossip are just fun), but instead, " +"by the costs that friction imposes on anyone who would want to spy." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Enter the Internet, where the cost of tracking browsing in particular has " +"become quite tiny. If you're a customer at Amazon, then as you browse the " +"pages, Amazon collects the data about what you've looked at. You know this " +"because at the side of the page, there's a list of \"recently viewed\" " +"pages. Now, because of the architecture of the Net and the function of " +"cookies on the Net, it is easier to collect the data than not. The friction " +"has disappeared, and hence any \"privacy\" protected by the friction " +"disappears, too." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Amazon, of course, is not the problem. But we might begin to worry about " +"libraries. If you're one of those crazy lefties who thinks that people " +"should have the \"right\" to browse in a library without the government " +"knowing which books you look at (I'm one of those lefties, too), then this " +"change in the technology of monitoring might concern you. If it becomes " +"simple to gather and sort who does what in electronic spaces, then the " +"friction-induced privacy of yesterday disappears." +msgstr "" + +#. f1. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See, for example, Marc Rotenberg, \"Fair Information Practices and the " +"Architecture of Privacy (What Larry Doesn't Get),\" Stanford Technology Law " +"Review 1 (2001): par. 6­18, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #72</ulink> (describing examples in which technology defines " +"privacy policy). See also Jeffrey Rosen, The Naked Crowd: Reclaiming " +"Security and Freedom in an Anxious Age (New York: Random House, 2004) " +"(mapping tradeoffs between technology and privacy)." +msgstr "" + +#. PAGE BREAK 284 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"It is this reality that explains the push of many to define \"privacy\" on " +"the Internet. It is the recognition that technology can remove what friction " +"before gave us that leads many to push for laws to do what friction did." +"<placeholder type=\"footnote\" id=\"0\"/> And whether you're in favor of " +"those laws or not, it is the pattern that is important here. We must take " +"affirmative steps to secure a kind of freedom that was passively provided " +"before. A change in technology now forces those who believe in privacy to " +"affirmatively act where, before, privacy was given by default." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"A similar story could be told about the birth of the free software movement. " +"When computers with software were first made available commercially, the " +"software--both the source code and the binaries-- was free. You couldn't run " +"a program written for a Data General machine on an IBM machine, so Data " +"General and IBM didn't care much about controlling their software." +msgstr "" +"en liknende historie kan fortelles om fødselen av fri programvare-" +"bevegelsen. NÃ¥r datamaskiner med programvare ble først gjort tilgjengelig " +"kommersielt, var programvaren--bÃ¥de kildekoden og binærfiler--gratis. Du kan " +"ikke kjøre et program som er skrevet for en generell data-maskinen pÃ¥ en ibm-" +"maskin, slik at data Generelt og ibm ikke vare mye om hvordan du styrer " +"deres programvare." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"That was the world Richard Stallman was born into, and while he was a " +"researcher at MIT, he grew to love the community that developed when one was " +"free to explore and tinker with the software that ran on machines. Being a " +"smart sort himself, and a talented programmer, Stallman grew to depend upon " +"the freedom to add to or modify other people's work." +msgstr "" +"Det var richard stallman ble født inn i verden, og mens han var forsker ved " +"mit, han vokste til Ã¥ elske samfunnet som utviklet nÃ¥r en var fri til Ã¥ " +"utforske og tinker med programvaren som kjørte pÃ¥ maskiner. Ã¥ være en smart " +"sortering selv, og en talentfull programmerer, vokste stallman avhengige av " +"frihet til Ã¥ legge til eller endre andre personers arbeid." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In an academic setting, at least, that's not a terribly radical idea. In a " +"math department, anyone would be free to tinker with a proof that someone " +"offered. If you thought you had a better way to prove a theorem, you could " +"take what someone else did and change it. In a classics department, if you " +"believed a colleague's translation of a recently discovered text was flawed, " +"you were free to improve it. Thus, to Stallman, it seemed obvious that you " +"should be free to tinker with and improve the code that ran a machine. This, " +"too, was knowledge. Why shouldn't it be open for criticism like anything " +"else?" +msgstr "" +"i akademiske omgivelser, minst, er det ikke en veldig radikale idé. noen " +"ville være gratis Ã¥ tinker med et bevis pÃ¥ at noen tilbys i en matematikk-" +"avdeling. Hvis du trodde du hadde en bedre mÃ¥te Ã¥ bevise en teorem, kan du " +"ta hva noen andre gjorde, og endre den. i en klassikere avdeling, hvis du " +"trodde en kollega oversettelse av en nylig oppdagede tekst var feil, var du " +"fri til Ã¥ forbedre den. dermed til stallman syntes det Ã¥penbart at du bør " +"være gratis Ã¥ tinker med og forbedre koden som kjørte en maskin. Dette, " +"ogsÃ¥, var kunnskap. Hvorfor bør ikke være Ã¥pen for kritikk som noe annet?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"No one answered that question. Instead, the architecture of revenue for " +"computing changed. As it became possible to import programs from one system " +"to another, it became economically attractive (at least in the view of some) " +"to hide the code of your program. So, too, as companies started selling " +"peripherals for mainframe systems. If I could just take your printer driver " +"and copy it, then that would make it easier for me to sell a printer to the " +"market than it was for you." +msgstr "" +"Ingen har besvart dette spørsmÃ¥let. i stedet endret arkitekturen i inntekter " +"for databehandling. som det ble mulig Ã¥ importere programmer fra ett system " +"til et annet, det ble økonomisk attraktive (minst i visningen av noen) Ã¥ " +"skjule koden av programmet. sÃ¥, ogsÃ¥, som selskaper som begynte Ã¥ selge " +"eksterne enheter for stormaskinsystemer. Hvis jeg kunne bare ta " +"skriverdriveren og kopiere den, og deretter som ville gjøre det enklere for " +"meg Ã¥ selge en skriver til markedet enn det var for deg." + +#. PAGE BREAK 285 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Thus, the practice of proprietary code began to spread, and by the early " +"1980s, Stallman found himself surrounded by proprietary code. The world of " +"free software had been erased by a change in the economics of computing. And " +"as he believed, if he did nothing about it, then the freedom to change and " +"share software would be fundamentally weakened." +msgstr "" +"dermed praksisen med proprietære koden begynte Ã¥ spre seg, og 1980-tallet, " +"stallman fant seg selv omringet av proprietære koden. verden av fri " +"programvare hadde blitt slettet av en endring i økonomien i databehandling. " +"og som han mente, hvis han gjorde ikke noe om det, og frihet til Ã¥ endre og " +"dele programvare ville være grundig svekket." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Therefore, in 1984, Stallman began a project to build a free operating " +"system, so that at least a strain of free software would survive. That was " +"the birth of the GNU project, into which Linus Torvalds's \"Linux\" kernel " +"was added to produce the GNU/Linux operating system." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Stallman's technique was to use copyright law to build a world of software " +"that must be kept free. Software licensed under the Free Software " +"Foundation's GPL cannot be modified and distributed unless the source code " +"for that software is made available as well. Thus, anyone building upon " +"GPL'd software would have to make their buildings free as well. This would " +"assure, Stallman believed, that an ecology of code would develop that " +"remained free for others to build upon. His fundamental goal was freedom; " +"innovative creative code was a byproduct." +msgstr "" +"Stallmans teknikken var Ã¥ bruke lov om opphavsrett til Ã¥ bygge en verden av " +"programvare som mÃ¥ holdes gratis. programvare lisensiert under gpl av free " +"software foundation kan ikke endres og distribuert med mindre kildekoden for " +"denne programvaren gjøres tilgjengelig ogsÃ¥. Dermed noen bygger pÃ¥ gpl ville " +"programvare ville ha Ã¥ gjøre sine bygninger gratis ogsÃ¥. Dette vil forsikre, " +"stallman trodd at en økologi av koden ville utvikle som forble gratis for " +"andre Ã¥ bygge pÃ¥. hans grunnleggende mÃ¥let var frihet; nyskapende, kreative " +"koden var en byproduct." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Stallman was thus doing for software what privacy advocates now do for " +"privacy. He was seeking a way to rebuild a kind of freedom that was taken " +"for granted before. Through the affirmative use of licenses that bind " +"copyrighted code, Stallman was affirmatively reclaiming a space where free " +"software would survive. He was actively protecting what before had been " +"passively guaranteed." +msgstr "" +"Stallman var dermed gjøre for programvare og hvilke personvernkontroller " +"talsmenn nÃ¥ har for personvern. Han var søker en mÃ¥te Ã¥ gjenoppbygge et " +"slags friheten som ble tatt for gitt før. gjennom bekreftende bruk av " +"lisenser som binder opphavsrettsbeskyttet kode, var stallman affirmatively " +"gjenerobring et mellomrom der fri programvare ville overleve. Han var aktivt " +"beskytter hva før hadde vært passivt garantert." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Finally, consider a very recent example that more directly resonates with " +"the story of this book. This is the shift in the way academic and scientific " +"journals are produced." +msgstr "" +"til slutt, vurdere en svært nylig eksempel mer direkte resonates med " +"historien om denne boken. Dette er skiftet i mÃ¥ten faglige og vitenskapelige " +"journaler er produsert." + +#. PAGE BREAK 286 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"As digital technologies develop, it is becoming obvious to many that " +"printing thousands of copies of journals every month and sending them to " +"libraries is perhaps not the most efficient way to distribute knowledge. " +"Instead, journals are increasingly becoming electronic, and libraries and " +"their users are given access to these electronic journals through password-" +"protected sites. Something similar to this has been happening in law for " +"almost thirty years: Lexis and Westlaw have had electronic versions of case " +"reports available to subscribers to their service. Although a Supreme Court " +"opinion is not copyrighted, and anyone is free to go to a library and read " +"it, Lexis and Westlaw are also free to charge users for the privilege of " +"gaining access to that Supreme Court opinion through their respective " +"services." +msgstr "" +"som digitale teknologien blir bedre, blir det Ã¥penbart for mange som skriver " +"ut tusenvis av kopier av journaler hver mÃ¥ned og sende dem til biblioteker " +"ikke er kanskje den mest effektive mÃ¥ten Ã¥ distribuere kunnskap. i stedet, " +"journaler er stadig Ã¥ bli elektronisk, og biblioteker og deres brukere gis " +"tilgang til disse elektroniske journaler gjennom passordbeskyttede omrÃ¥der. " +"noe som ligner pÃ¥ dette har foregÃ¥tt i loven for nesten tretti Ã¥r: lexis og " +"westlaw har hatt elektroniske versjoner av Saksrapporter som er tilgjengelig " +"for abonnenter til deres tjeneste. Selv om en Høyesterett mening ikke er " +"beskyttet av opphavsretten, og noen er fri til Ã¥ gÃ¥ til et bibliotek og lese " +"den, er lexis og westlaw ogsÃ¥ gjerne Belast brukerne for privilegiet av Ã¥ fÃ¥ " +"tilgang til at Høyesterett mening gjennom sine respektive tjenester." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"There's nothing wrong in general with this, and indeed, the ability to " +"charge for access to even public domain materials is a good incentive for " +"people to develop new and innovative ways to spread knowledge. The law has " +"agreed, which is why Lexis and Westlaw have been allowed to flourish. And if " +"there's nothing wrong with selling the public domain, then there could be " +"nothing wrong, in principle, with selling access to material that is not in " +"the public domain." +msgstr "" +"Det er ingenting galt med dette Generelt, og muligheten til Ã¥ ta betalt for " +"tilgang til selv allemannseie materialet er faktisk en god insentiv for folk " +"Ã¥ utvikle nye og innovative mÃ¥ter Ã¥ spre kunnskap. loven har avtalt, som er " +"grunnen til at lexis og westlaw har fÃ¥tt lov til Ã¥ blomstre. og hvis det er " +"ingenting galt med Ã¥ selge allemannseie, det kan være noe galt i prinsippet " +"med selger tilgang til materiale som ikke er allemannseie." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But what if the only way to get access to social and scientific data was " +"through proprietary services? What if no one had the ability to browse this " +"data except by paying for a subscription?" +msgstr "" +"men hva om du bare kan fÃ¥ tilgang til sosiale og vitenskapelige data var " +"gjennom proprietære tjenester? Hva om ingen hadde muligheten til Ã¥ bla " +"gjennom denne data unntatt ved Ã¥ betale for et abonnement?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"As many are beginning to notice, this is increasingly the reality with " +"scientific journals. When these journals were distributed in paper form, " +"libraries could make the journals available to anyone who had access to the " +"library. Thus, patients with cancer could become cancer experts because the " +"library gave them access. Or patients trying to understand the risks of a " +"certain treatment could research those risks by reading all available " +"articles about that treatment. This freedom was therefore a function of the " +"institution of libraries (norms) and the technology of paper journals " +"(architecture)--namely, that it was very hard to control access to a paper " +"journal." +msgstr "" +"som mange begynner Ã¥ legge merke til, er dette stadig virkeligheten med " +"vitenskapelige journaler. NÃ¥r disse kladdene ble distribuert i papirskjema, " +"kan biblioteker gjøre journalene tilgjengelig for alle som hadde tilgang til " +"biblioteket. pasienter med kreft kan derfor bli kreft eksperter fordi " +"biblioteket ga dem tilgang. eller pasienter prøver Ã¥ forstÃ¥ risikoen for en " +"bestemt behandling kunne forskning disse risikoene ved Ã¥ lese alle " +"tilgjengelige artikler om at behandling. denne friheten ble derfor en " +"funksjon av institusjonen av biblioteker (normer) og teknologi i papir " +"journaler (arkitektur)--nemlig at det var svært vanskelig å kontrollere " +"tilgangen til en papir-journal." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"As journals become electronic, however, the publishers are demanding that " +"libraries not give the general public access to the journals. This means " +"that the freedoms provided by print journals in public libraries begin to " +"disappear. Thus, as with privacy and with software, a changing technology " +"and market shrink a freedom taken for granted before." +msgstr "" +"Når journaler blir elektronisk, men er utgivere krevende at biblioteker ikke " +"gir generell offentlig tilgang til journalene. Dette betyr at frihetene som " +"er levert av Skriv ut journaler i offentlige bibliotek begynner å forsvinne. " +"Således, som med personvern og med programvare, en skiftende teknologi og " +"markedet forminske en frihet tatt for gitt før." + +#. PAGE BREAK 287 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This shrinking freedom has led many to take affirmative steps to restore the " +"freedom that has been lost. The Public Library of Science (PLoS), for " +"example, is a nonprofit corporation dedicated to making scientific research " +"available to anyone with a Web connection. Authors of scientific work submit " +"that work to the Public Library of Science. That work is then subject to " +"peer review. If accepted, the work is then deposited in a public, electronic " +"archive and made permanently available for free. PLoS also sells a print " +"version of its work, but the copyright for the print journal does not " +"inhibit the right of anyone to redistribute the work for free." +msgstr "" +"Denne krympende friheten har ført mange å ta bekreftende trinnene for å " +"gjenopprette frihet som har gått tapt. public library of science (plos), for " +"eksempel er en nonprofit aksjeselskap som er dedikert til å gjøre " +"vitenskapelig forskning tilgjengelig for alle som har en Webtilkobling. " +"forfatterne av vitenskapelig arbeid sende det fungerer til public library of " +"science. Dette arbeidet er deretter gjenstand for peer review. Dersom de " +"blir akseptert, er arbeidet deretter oppbevart i et offentlig, elektronisk " +"arkiv og gjort permanent tilgjengelig gratis. PLOs selger også en " +"utskriftsversjon av sitt arbeid, men opphavsretten for utskrift journal " +"forhindre ikke høyre for noen til å videredistribuere arbeidet gratis." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is one of many such efforts to restore a freedom taken for granted " +"before, but now threatened by changing technology and markets. There's no " +"doubt that this alternative competes with the traditional publishers and " +"their efforts to make money from the exclusive distribution of content. But " +"competition in our tradition is presumptively a good--especially when it " +"helps spread knowledge and science." +msgstr "" +"Dette er ett av mange slike anstrengelser til å gjenopprette en frihet tatt " +"for gitt før, men nå truet av skiftende teknologi og markeder. Det er ingen " +"tvil om at denne alternative konkurrerer med tradisjonelle utgivere og deres " +"innsats for å tjene penger fra den eksklusive distribusjonen av innhold. men " +"konkurransen i vår tradisjon er presumptively en god--spesielt når det " +"bidrar til å spre kunnskap og vitenskap." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "Rebuilding Free Culture: One Idea" +msgstr "å gjenoppbygge fri kultur: en idé" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The same strategy could be applied to culture, as a response to the " +"increasing control effected through law and technology." +msgstr "" +"samme strategi som kan brukes til kultur, som et svar på økende kontrollen " +"berørt gjennom lov og teknologi." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Enter the Creative Commons. The Creative Commons is a nonprofit corporation " +"established in Massachusetts, but with its home at Stanford University. Its " +"aim is to build a layer of reasonable copyright on top of the extremes that " +"now reign. It does this by making it easy for people to build upon other " +"people's work, by making it simple for creators to express the freedom for " +"others to take and build upon their work. Simple tags, tied to human-" +"readable descriptions, tied to bulletproof licenses, make this possible." +msgstr "" +"Angi creative commons. creative commons er et nonprofit selskap etablert i " +"massachusetts, men med sitt hjem ved stanford university. Målet er å bygge " +"et lag av rimelig opphavsrett på toppen av den ekstreme som nå regjere. " +"Dette gjøres ved å gjøre det lett for folk å bygge på andres arbeid, ved å " +"gjøre det enkelt for skaperne å uttrykke frihet for andre å ta, og bygge på " +"sitt arbeid. Simple tags, knyttet til lesbar beskrivelser, knyttet til " +"vanntett lisenser, gjør dette mulig." + +#. PAGE BREAK 288 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Simple--which means without a middleman, or without a lawyer. By developing " +"a free set of licenses that people can attach to their content, Creative " +"Commons aims to mark a range of content that can easily, and reliably, be " +"built upon. These tags are then linked to machine-readable versions of the " +"license that enable computers automatically to identify content that can " +"easily be shared. These three expressions together--a legal license, a human-" +"readable description, and machine-readable tags--constitute a Creative " +"Commons license. A Creative Commons license constitutes a grant of freedom " +"to anyone who accesses the license, and more importantly, an expression of " +"the ideal that the person associated with the license believes in something " +"different than the \"All\" or \"No\" extremes. Content is marked with the CC " +"mark, which does not mean that copyright is waived, but that certain " +"freedoms are given." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These freedoms are beyond the freedoms promised by fair use. Their precise " +"contours depend upon the choices the creator makes. The creator can choose a " +"license that permits any use, so long as attribution is given. She can " +"choose a license that permits only noncommercial use. She can choose a " +"license that permits any use so long as the same freedoms are given to other " +"uses (\"share and share alike\"). Or any use so long as no derivative use is " +"made. Or any use at all within developing nations. Or any sampling use, so " +"long as full copies are not made. Or lastly, any educational use." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These choices thus establish a range of freedoms beyond the default of " +"copyright law. They also enable freedoms that go beyond traditional fair " +"use. And most importantly, they express these freedoms in a way that " +"subsequent users can use and rely upon without the need to hire a lawyer. " +"Creative Commons thus aims to build a layer of content, governed by a layer " +"of reasonable copyright law, that others can build upon. Voluntary choice of " +"individuals and creators will make this content available. And that content " +"will in turn enable us to rebuild a public domain." +msgstr "" +"disse valgene dermed etablere en rekke friheter utover standard om " +"opphavsrett. de har også aktivere friheter som går utover tradisjonelle fair " +"use. og viktigst, de uttrykker disse frihetene på en måte at etterfølgende " +"brukere kan bruke og stole på uten å måtte ansette en advokat. Creative " +"commons dermed tar sikte på å bygge et lag med innhold, styrt av et lag med " +"rimelig lov om opphavsrett, som andre kan bygge på. frivillig valg av " +"enkeltpersoner og skaperne vil gjøre dette innholdet tilgjengelig. og at " +"innholdet i sin tur kan vi bygge et offentlig-domene." + +#. PAGE BREAK 289 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This is just one project among many within the Creative Commons. And of " +"course, Creative Commons is not the only organization pursuing such " +"freedoms. But the point that distinguishes the Creative Commons from many is " +"that we are not interested only in talking about a public domain or in " +"getting legislators to help build a public domain. Our aim is to build a " +"movement of consumers and producers of content (\"content conducers,\" as " +"attorney Mia Garlick calls them) who help build the public domain and, by " +"their work, demonstrate the importance of the public domain to other " +"creativity." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The aim is not to fight the \"All Rights Reserved\" sorts. The aim is to " +"complement them. The problems that the law creates for us as a culture are " +"produced by insane and unintended consequences of laws written centuries " +"ago, applied to a technology that only Jefferson could have imagined. The " +"rules may well have made sense against a background of technologies from " +"centuries ago, but they do not make sense against the background of digital " +"technologies. New rules--with different freedoms, expressed in ways so that " +"humans without lawyers can use them--are needed. Creative Commons gives " +"people a way effectively to begin to build those rules." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Why would creators participate in giving up total control? Some participate " +"to better spread their content. Cory Doctorow, for example, is a science " +"fiction author. His first novel, Down and Out in the Magic Kingdom, was " +"released on-line and for free, under a Creative Commons license, on the same " +"day that it went on sale in bookstores." +msgstr "" +"Hvorfor ville skaperne delta i å gi opp full kontroll? noen delta for å " +"bedre spre innholdet. Cory doctorow, for eksempel er en science fiction-" +"forfatter. hans første novelle, ned og ut i magiske riket, ble utgitt på " +"nettet og gratis, under en creative commons-lisens på samme dag som det gikk " +"på salg i bokhandler." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Why would a publisher ever agree to this? I suspect his publisher reasoned " +"like this: There are two groups of people out there: (1) those who will buy " +"Cory's book whether or not it's on the Internet, and (2) those who may " +"never hear of Cory's book, if it isn't made available for free on the " +"Internet. Some part of (1) will download Cory's book instead of buying it. " +"Call them bad-(1)s. Some part of (2) will download Cory's book, like it, and " +"then decide to buy it. Call them (2)-goods. If there are more (2)-goods " +"than bad-(1)s, the strategy of releasing Cory's book free on-line will " +"probably increase sales of Cory's book." +msgstr "" +"Hvorfor ville en utgiver noensinne samtykker til dette? Jeg mistenker at " +"hans publisher begrunnet som dette: det finnes to grupper av mennesker der " +"ute: (1) de som vil kjøpe cory bok om det er på Internett, og (2) de som kan " +"aldri høre av cory's bok, hvis det ikke er gjort tilgjengelig gratis på " +"Internett. noen del av (1) laster ned cory bok i stedet for å kjøpe den. " +"ringe dem dårlig-(1) s. noen del av (2) lastet ned cory's bok, liker det, og " +"deretter bestemmer deg for å kjøpe den. kalle dem (2)-varer. Hvis det er mer " +"(2)-varer enn dårlig-(1) s, strategien for lanserer cory bok gratis on-line " +"trolig vil øke salg av cory's bok." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Indeed, the experience of his publisher clearly supports that conclusion. " +"The book's first printing was exhausted months before the publisher had " +"expected. This first novel of a science fiction author was a total success." +msgstr "" +"opplevelsen av hans publisher støtter faktisk klart at konklusjonen. bokens " +"første utskrift er oppbrukt måneder før utgiveren hadde forventet. denne " +"første romanen av en science fiction-forfatteren var en total suksess." + +#. PAGE BREAK 290 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The idea that free content might increase the value of nonfree content was " +"confirmed by the experience of another author. Peter Wayner, who wrote a " +"book about the free software movement titled Free for All, made an " +"electronic version of his book free on-line under a Creative Commons license " +"after the book went out of print. He then monitored used book store prices " +"for the book. As predicted, as the number of downloads increased, the used " +"book price for his book increased, as well." +msgstr "" +"ideen at gratis innhold kan øke verdien av nonfree innhold ble bekreftet av " +"opplevelsen av en annen forfatter. Peter wayner, som skrev en bok om fri " +"programvare-bevegelsen med tittelen gratis for alle, en elektronisk versjon " +"av sin bok gratis on-line under en creative commons-lisens etter at boken " +"gikk ut av print. han overvåket deretter brukt boka store priser for boken. " +"som spådd, som antall nedlastinger økt, brukte boken-pris for sin bok øker " +"også." + +#. f2. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Willful Infringement: A Report from the Front Lines of the Real Culture Wars " +"(2003), produced by Jed Horovitz, directed by Greg Hittelman, a Fiat Lucre " +"production, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#72</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These are examples of using the Commons to better spread proprietary " +"content. I believe that is a wonderful and common use of the Commons. There " +"are others who use Creative Commons licenses for other reasons. Many who use " +"the \"sampling license\" do so because anything else would be hypocritical. " +"The sampling license says that others are free, for commercial or " +"noncommercial purposes, to sample content from the licensed work; they are " +"just not free to make full copies of the licensed work available to others. " +"This is consistent with their own art--they, too, sample from others. " +"Because the legal costs of sampling are so high (Walter Leaphart, manager of " +"the rap group Public Enemy, which was born sampling the music of others, has " +"stated that he does not \"allow\" Public Enemy to sample anymore, because " +"the legal costs are so high<placeholder type=\"footnote\" id=\"0\"/>), these " +"artists release into the creative environment content that others can build " +"upon, so that their form of creativity might grow." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Finally, there are many who mark their content with a Creative Commons " +"license just because they want to express to others the importance of " +"balance in this debate. If you just go along with the system as it is, you " +"are effectively saying you believe in the \"All Rights Reserved\" model. " +"Good for you, but many do not. Many believe that however appropriate that " +"rule is for Hollywood and freaks, it is not an appropriate description of " +"how most creators view the rights associated with their content. The " +"Creative Commons license expresses this notion of \"Some Rights Reserved,\" " +"and gives many the chance to say it to others." +msgstr "" + +#. PAGE BREAK 291 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In the first six months of the Creative Commons experiment, over 1 million " +"objects were licensed with these free-culture licenses. The next step is " +"partnerships with middleware content providers to help them build into their " +"technologies simple ways for users to mark their content with Creative " +"Commons freedoms. Then the next step is to watch and celebrate creators who " +"build content based upon content set free." +msgstr "" +"i de første seks månedene av creative commons-eksperimentet, ble over 1 " +"million objekter lisensiert med disse gratis-kultur-lisenser. det neste " +"trinnet er partnerskap med mellomvare innholdsleverandører å hjelpe dem å " +"bygge inn i deres teknologier enkle måter for brukere å merke innholdet sitt " +"med creative commons-friheter. så er neste trinn å se på og feire skaperne " +"som bygger innhold basert på innhold satt fri." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These are first steps to rebuilding a public domain. They are not mere " +"arguments; they are action. Building a public domain is the first step to " +"showing people how important that domain is to creativity and innovation. " +"Creative Commons relies upon voluntary steps to achieve this rebuilding. " +"They will lead to a world in which more than voluntary steps are possible." +msgstr "" +"Dette er første trinn å gjenoppbygge et frivare. de er ikke bare argumenter; " +"de er handlingen. bygge et offentlig-domene er det første skrittet til viser " +"folk hvor viktig dette domenet er til kreativitet og innovasjon. Creative " +"commons, avhengig av frivillig tiltak for å oppnå dette å gjenoppbygge. de " +"vil føre til en verden der flere frivillige trinnene er mulig." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Creative Commons is just one example of voluntary efforts by individuals and " +"creators to change the mix of rights that now govern the creative field. The " +"project does not compete with copyright; it complements it. Its aim is not " +"to defeat the rights of authors, but to make it easier for authors and " +"creators to exercise their rights more flexibly and cheaply. That " +"difference, we believe, will enable creativity to spread more easily." +msgstr "" +"Creative commons er bare ett eksempel på frivillig innsats av enkeltpersoner " +"og skaperne å endre blanding av rettigheter som nå styrer feltet kreative. " +"prosjektet ikke stiller til Start med copyright; det utfyller det. Målet er " +"ikke å beseire rettighetene til forfattere, men å gjøre det enklere for " +"forfattere og skaperne å utøve sine rettigheter, mer fleksibelt og billig. " +"at vi tror forskjellen, aktiverer kreativitet å spre lettere." + +#. type: Content of: <book><chapter><sect1><title> +msgid "THEM, SOON" +msgstr "dem snart" + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"We will not reclaim a free culture by individual action alone. It will also " +"take important reforms of laws. We have a long way to go before the " +"politicians will listen to these ideas and implement these reforms. But " +"that also means that we have time to build awareness around the changes that " +"we need." +msgstr "" +"Vi vil ikke gjenvinne en fri kultur av handling alene. det vil også ta " +"viktige reformer av lover. Vi har en lang vei å gå før politikerne vil lytte " +"til disse ideene og implementere disse reformene. men det betyr også at vi " +"har tid til å bygge opp bevisstheten rundt endringene som vi trenger." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"In this chapter, I outline five kinds of changes: four that are general, and " +"one that's specific to the most heated battle of the day, music. Each is a " +"step, not an end. But any of these steps would carry us a long way to our " +"end." +msgstr "" +"i dette kapitlet, jeg skissere fem typer endringer: fire som er generelt, og " +"som er spesifikk for den mest opphetede kampen på dagen, musikk. hver er et " +"skritt, ikke en slutt. men noen av disse trinnene vil bære oss en lang vei " +"til vår side." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "1. More Formalities" +msgstr "1. mer formaliteter" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"If you buy a house, you have to record the sale in a deed. If you buy land " +"upon which to build a house, you have to record the purchase in a deed. If " +"you buy a car, you get a bill of sale and register the car. If you buy an " +"airplane ticket, it has your name on it." +msgstr "" +"Hvis du kjøper et hus, må du registrere salg i en gjerning. Hvis du kjøper " +"land som å bygge et hus, må du registrere kjøp i en gjerning. Hvis du kjøper " +"en bil, kan du få en regning for salg og registrere bilen. Hvis du kjøper en " +"flybillett, har navnet ditt på den." + +#. PAGE BREAK 293 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These are all formalities associated with property. They are requirements " +"that we all must bear if we want our property to be protected." +msgstr "" +"disse er alle formaliteter knyttet til egenskapen. de er krav som vi alle må " +"bære hvis vi ønsker vår eiendom skal beskyttes." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In contrast, under current copyright law, you automatically get a copyright, " +"regardless of whether you comply with any formality. You don't have to " +"register. You don't even have to mark your content. The default is control, " +"and \"formalities\" are banished." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "Why?" +msgstr "hvorfor?" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"As I suggested in chapter 10, the motivation to abolish formalities was a " +"good one. In the world before digital technologies, formalities imposed a " +"burden on copyright holders without much benefit. Thus, it was progress when " +"the law relaxed the formal requirements that a copyright owner must bear to " +"protect and secure his work. Those formalities were getting in the way." +msgstr "" +"som jeg antydet i kapittel 10, var motivasjon til å avskaffe formaliteter en " +"god en. i verden før digital teknologi pålagt formaliteter en byrde på " +"innehaver av opphavsrett uten mye fordel. dermed var det fremdriften når " +"loven avslappet formelle krav som en opphavsrettsinnehaveren må bære å " +"beskytte og sikre hans arbeid. disse formaliteter var komme i veien." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But the Internet changes all this. Formalities today need not be a burden. " +"Rather, the world without formalities is the world that burdens creativity. " +"Today, there is no simple way to know who owns what, or with whom one must " +"deal in order to use or build upon the creative work of others. There are no " +"records, there is no system to trace-- there is no simple way to know how to " +"get permission. Yet given the massive increase in the scope of copyright's " +"rule, getting permission is a necessary step for any work that builds upon " +"our past. And thus, the lack of formalities forces many into silence where " +"they otherwise could speak." +msgstr "" +"men Internett endrer alt dette. formaliteter trenger i dag ikke være en " +"byrde. verden uten formaliteter er heller verden som byrder kreativitet. i " +"dag, det er ingen enkel måte å vite hvem som eier hva eller hvem må en " +"avtale for å kunne bruke eller bygge på kreative arbeidet til andre. Det " +"finnes ingen poster, er det ingen systemer til spor--det er ingen enkel måte " +"å vite hvordan du får tillatelse. men gitt den massive økningen i omfanget " +"av copyright's regelen, få tillatelse er et nødvendig skritt for alt arbeid " +"som bygger på vår fortid. og dermed mangel på formaliteter styrker mange i " +"stillhet der de ellers kunne snakke." + +#. f1. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"The proposal I am advancing here would apply to American works only. " +"Obviously, I believe it would be beneficial for the same idea to be adopted " +"by other countries as well." +msgstr "" +"forslaget jeg er fremme her ville gjelde american Works bare. Selvfølgelig, " +"jeg tror det vil være fordelaktig for samme ideen om å bli vedtatt av andre " +"land også." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The law should therefore change this requirement<placeholder type=\"footnote" +"\" id=\"0\"/>--but it should not change it by going back to the old, broken " +"system. We should require formalities, but we should establish a system that " +"will create the incentives to minimize the burden of these formalities." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The important formalities are three: marking copyrighted work, registering " +"copyrights, and renewing the claim to copyright. Traditionally, the first of " +"these three was something the copyright owner did; the second two were " +"something the government did. But a revised system of formalities would " +"banish the government from the process, except for the sole purpose of " +"approving standards developed by others." +msgstr "" +"viktig formaliteter er tre: merking opphavsrettsbeskyttede, registrerer " +"opphavsrett og fornye kravet til copyright. tradisjonelt, var først av disse " +"tre noe eieren av opphavsretten gjorde; de andre to var noe regjeringen " +"gjorde. men et revidert system av formaliteter ville forvise regjeringen fra " +"prosessen, unntatt for formålet å godkjenne standarder utviklet av andre." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><title> +msgid "REGISTRATION AND RENEWAL" +msgstr "registrering og fornyelse" + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"Under the old system, a copyright owner had to file a registration with the " +"Copyright Office to register or renew a copyright. When filing that " +"registration, the copyright owner paid a fee. As with most government " +"agencies, the Copyright Office had little incentive to minimize the burden " +"of registration; it also had little incentive to minimize the fee. And as " +"the Copyright Office is not a main target of government policymaking, the " +"office has historically been terribly underfunded. Thus, when people who " +"know something about the process hear this idea about formalities, their " +"first reaction is panic--nothing could be worse than forcing people to deal " +"with the mess that is the Copyright Office." +msgstr "" +"under det gamle systemet hadde en opphavsrettighetene til filen en " +"registrering med opphavsrett office registrere eller fornye opphavsretten. " +"Når innlevering at registrering, betales eieren av opphavsretten en avgift. " +"som med de fleste myndigheter hadde opphavsrett kontoret få insentiver til å " +"minimere byrden av registrering; det hadde også få insentiver til å minimere " +"gebyret. og så opphavsrett kontoret ikke er hovedmålet for regjeringen " +"policymaking, kontoret har historisk sett vært veldig underfunded. Således, " +"når folk som vet noe om prosessen hører denne ideen om formaliteter, deres " +"første reaksjon er panikk--ingenting kunne være verre enn tvinge folk til å " +"håndtere rotet som er copyright kontoret." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"Yet it is always astonishing to me that we, who come from a tradition of " +"extraordinary innovation in governmental design, can no longer think " +"innovatively about how governmental functions can be designed. Just because " +"there is a public purpose to a government role, it doesn't follow that the " +"government must actually administer the role. Instead, we should be creating " +"incentives for private parties to serve the public, subject to standards " +"that the government sets." +msgstr "" +"Likevel er det alltid utrolig for meg at vi, som kommer fra en tradisjon av " +"ekstraordinære innovasjon i statlige design, kan ikke lenger tror innovativt " +"om hvordan statlige funksjoner kan være utformet. bare fordi det er et " +"offentlig formål til en regjering-rolle, følger ikke det at regjeringen må " +"faktisk administrere rollen. i stedet, vi bør være å skape insentiver til " +"private selskaper å tjene allmennheten, underlagt standarder som regjeringen " +"angir." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"In the context of registration, one obvious model is the Internet. There " +"are at least 32 million Web sites registered around the world. Domain name " +"owners for these Web sites have to pay a fee to keep their registration " +"alive. In the main top-level domains (.com, .org, .net), there is a central " +"registry. The actual registrations are, however, performed by many competing " +"registrars. That competition drives the cost of registering down, and more " +"importantly, it drives the ease with which registration occurs up." +msgstr "" +"i sammenheng med registrering er en opplagt modell Internett. Det finnes " +"minst 32 millioner web-områder som er registrert i verden. domeneeiere navn " +"for disse web-områder må betale en avgift for å holde sine registrering " +"Live. Det er et sentralt register i de viktigste domenene (.com, .org, ." +"net). de faktiske registreringene utføres imidlertid av mange konkurrerende " +"registrarer. at konkurransen stasjoner kostnadene for å registrere ned, og " +"enda viktigere, det stasjoner brukervennligheten som registrering oppstår " +"opp." + +#. PAGE BREAK 295 +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"We should adopt a similar model for the registration and renewal of " +"copyrights. The Copyright Office may well serve as the central registry, but " +"it should not be in the registrar business. Instead, it should establish a " +"database, and a set of standards for registrars. It should approve " +"registrars that meet its standards. Those registrars would then compete with " +"one another to deliver the cheapest and simplest systems for registering and " +"renewing copyrights. That competition would substantially lower the burden " +"of this formality--while producing a database of registrations that would " +"facilitate the licensing of content." +msgstr "" +"vi alle bør vedtas en lignende modell for registrering og fornying av " +"opphavsretten. opphavsrett kontoret kan også tjene som sentrale registret, " +"men det bør ikke være i virksomhet registrar. Det bør i stedet opprette en " +"database, og et sett med standarder for registrarer. det skal godkjenne " +"registrarer som oppfyller sine standarder. disse registrarer vil så " +"konkurrere med hverandre for å levere de billigste og enkleste systemene for " +"registrering og fornying av opphavsrett. at konkurransen ville vesentlig " +"lavere byrden av denne formalitet--mens en database med registreringer som " +"ville forenkler lisensiering av innhold." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><title> +msgid "MARKING" +msgstr "merking" + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"It used to be that the failure to include a copyright notice on a creative " +"work meant that the copyright was forfeited. That was a harsh punishment for " +"failing to comply with a regulatory rule--akin to imposing the death penalty " +"for a parking ticket in the world of creative rights. Here again, there is " +"no reason that a marking requirement needs to be enforced in this way. And " +"more importantly, there is no reason a marking requirement needs to be " +"enforced uniformly across all media." +msgstr "" +"Det pleide å være at å inkludere en opphavsrett på en skapende arbeid " +"betydde at opphavsretten ble forkastet. Det var en streng straff for ikke å " +"overholde en regulatoriske regel--sammenlignes med imponerende dødsstraff " +"for en parkeringsbilletten i verden av kreative rettigheter. Her igjen, er " +"det ingen grunn som et merking krav må håndheves på denne måten. og enda " +"viktigere, det er ingen grunn et merking krav må håndheves jevnt på tvers av " +"alle medier." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"The aim of marking is to signal to the public that this work is copyrighted " +"and that the author wants to enforce his rights. The mark also makes it easy " +"to locate a copyright owner to secure permission to use the work." +msgstr "" +"Målet med merking er med signal til publikum at dette arbeidet er " +"opphavsrettsbeskyttet, og at forfatteren ønsker å håndheve sine rettigheter. " +"mark gjør det også enkelt å finne en som har opphavsrettighetene for å sikre " +"tillatelse til å bruke arbeidet." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"One of the problems the copyright system confronted early on was that " +"different copyrighted works had to be differently marked. It wasn't clear " +"how or where a statue was to be marked, or a record, or a film. A new " +"marking requirement could solve these problems by recognizing the " +"differences in media, and by allowing the system of marking to evolve as " +"technologies enable it to. The system could enable a special signal from the " +"failure to mark--not the loss of the copyright, but the loss of the right to " +"punish someone for failing to get permission first." +msgstr "" +"ett av problemene opphavsretten til systemet konfrontert tidlig var at ulike " +"opphavsrettslig beskyttet verk måtte være annerledes merket. Det var ikke " +"klart hvordan eller hvor en statue var å bli merket, eller en oppføring, " +"eller en film. en nye merking kravet kunne løse disse problemene ved å " +"gjenkjenne forskjellene i media, og tillater systemet av merking å utvikle " +"seg som teknologier gir det til. systemet kan gjøre det mulig for en " +"spesiell signalet fra å merke--ikke tap av opphavsretten, men tap av retten " +"til å straffe noen for ikke å få tillatelse først." + +#. f2. +#. type: Content of: <book><chapter><sect1><sect2><sect3><para><footnote><para> +msgid "" +"There would be a complication with derivative works that I have not solved " +"here. In my view, the law of derivatives creates a more complicated system " +"than is justified by the marginal incentive it creates." +msgstr "" +"det ville være en complication med avledede produkter som jeg ikke har løst " +"her. etter mitt syn er oppretter loven av derivater et mer komplisert system " +"enn er rettferdiggjort av marginale incitament opprettes." + +#. PAGE BREAK 296 +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"Let's start with the last point. If a copyright owner allows his work to be " +"published without a copyright notice, the consequence of that failure need " +"not be that the copyright is lost. The consequence could instead be that " +"anyone has the right to use this work, until the copyright owner complains " +"and demonstrates that it is his work and he doesn't give permission." +"<placeholder type=\"footnote\" id=\"0\"/> The meaning of an unmarked work " +"would therefore be \"use unless someone complains.\" If someone does " +"complain, then the obligation would be to stop using the work in any new " +"work from then on though no penalty would attach for existing uses. This " +"would create a strong incentive for copyright owners to mark their work." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"That in turn raises the question about how work should best be marked. Here " +"again, the system needs to adjust as the technologies evolve. The best way " +"to ensure that the system evolves is to limit the Copyright Office's role to " +"that of approving standards for marking content that have been crafted " +"elsewhere." +msgstr "" +"som i sin tur reiser spørsmålet om hvordan arbeidet best bør være merket. " +"Her igjen, må systemet justere som teknologien utvikler seg. den beste måten " +"å sikre at systemet utvikler seg er å begrense opphavsrett kontorets rolle " +"for å godkjenne standarder for å merke innhold som har vært laget andre " +"steder." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"For example, if a recording industry association devises a method for " +"marking CDs, it would propose that to the Copyright Office. The Copyright " +"Office would hold a hearing, at which other proposals could be made. The " +"Copyright Office would then select the proposal that it judged preferable, " +"and it would base that choice solely upon the consideration of which method " +"could best be integrated into the registration and renewal system. We would " +"not count on the government to innovate; but we would count on the " +"government to keep the product of innovation in line with its other " +"important functions." +msgstr "" +"for eksempel hvis en recording industry association devises en metode for å " +"merke CDer, ville det foreslå som til opphavsrett kontoret. opphavsrett " +"kontoret ville holde en høring, som andre forslag kan gjøres. opphavsrett " +"kontoret deretter velger forslaget at det dømt foretrekke, og det vil basere " +"det valget utelukkende på vurdering som kan best metoden integreres i " +"systemet registrering og fornyelse. Vi ville ikke stole på regjeringen til å " +"skape noe nytt; men vi vil stole på regjeringen for å holde produktet av " +"innovasjon i tråd med sin andre viktige funksjoner." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"Finally, marking content clearly would simplify registration requirements. " +"If photographs were marked by author and year, there would be little reason " +"not to allow a photographer to reregister, for example, all photographs " +"taken in a particular year in one quick step. The aim of the formality is " +"not to burden the creator; the system itself should be kept as simple as " +"possible." +msgstr "" +"til slutt, markerer innholdet klart vil forenkle krav til registrering. Hvis " +"fotografier var preget av forfatteren og år, ville det være liten grunn til " +"ikke å tillate en fotograf å registrere på nytt, for eksempel alle bildene " +"som er tatt i et bestemt år i ett trinn. Målet med formalitet er å unngå " +"unødige belastninger skaperen; selve systemet bør holdes så enkelt som mulig." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"The objective of formalities is to make things clear. The existing system " +"does nothing to make things clear. Indeed, it seems designed to make things " +"unclear." +msgstr "" +"Målet med formaliteter er å gjøre ting klart. eksisterende systemet gjør " +"ingenting for å gjøre ting klart. Ja, det synes designet for å gjøre ting " +"som er uklart." + +#. type: Content of: <book><chapter><sect1><sect2><sect3><para> +msgid "" +"If formalities such as registration were reinstated, one of the most " +"difficult aspects of relying upon the public domain would be removed. It " +"would be simple to identify what content is presumptively free; it would be " +"simple to identify who controls the rights for a particular kind of content; " +"it would be simple to assert those rights, and to renew that assertion at " +"the appropriate time." +msgstr "" +"Hvis formaliteter for eksempel registrering er gjenopprettet, en av de " +"vanskeligste sidene av stole på allemannseie ville bli fjernet. det ville " +"være enkelt å identifisere hvilket innhold er presumptively gratis; det " +"ville være enkelt å identifisere hvem styrer rettighetene for en bestemt " +"type innhold; det ville være enkelt å hevde de rettighetene og å fornye at " +"påstanden på riktig tidspunkt." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "2. Shorter Terms" +msgstr "2. kortere vilkår" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The term of copyright has gone from fourteen years to ninety-five years for " +"corporate authors, and life of the author plus seventy years for natural " +"authors." +msgstr "" +"begrepet av opphavsrett har gått fra fjorten år til ninety-fem år for " +"corporate forfattere og livet forfatter pluss sytti år for naturlig " +"forfattere." + +#. f3. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #74</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In The Future of Ideas, I proposed a seventy-five-year term, granted in five-" +"year increments with a requirement of renewal every five years. That seemed " +"radical enough at the time. But after we lost Eldred v. Ashcroft, the " +"proposals became even more radical. The Economist endorsed a proposal for a " +"fourteen-year copyright term.<placeholder type=\"footnote\" id=\"0\"/> " +"Others have proposed tying the term to the term for patents." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I agree with those who believe that we need a radical change in copyright's " +"term. But whether fourteen years or seventy-five, there are four principles " +"that are important to keep in mind about copyright terms." +msgstr "" +"Jeg er enig med de som tror at vi trenger en radikal endring i copyright's " +"sikt. men om fjorten år eller sytti-fem, finnes det fire prinsipper som er " +"viktig å huske på om opphavsrett terms." + +#. (1) +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"Keep it short: The term should be as long as necessary to give incentives to " +"create, but no longer. If it were tied to very strong protections for " +"authors (so authors were able to reclaim rights from publishers), rights to " +"the same work (not derivative works) might be extended further. The key is " +"not to tie the work up with legal regulations when it no longer benefits an " +"author." +msgstr "" +"holde det kort: begrepet skal være så lenge som nødvendig for å gi " +"insentiver til å opprette, men ikke lenger. Hvis det var knyttet til veldig " +"sterk beskyttelse for forfattere (slik at forfattere klarte å gjenvinne " +"rettigheter fra utgivere), kan rettighetene til frembringelsen som samme " +"(ikke avledede) utvides ytterligere. nøkkelen er ikke å knytte arbeidet opp " +"med forskrifter når det ikke lenger fordeler en forfatter." + +#. (2) +#. PAGE BREAK 298 +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"Keep it simple: The line between the public domain and protected content " +"must be kept clear. Lawyers like the fuzziness of \"fair use,\" and the " +"distinction between \"ideas\" and \"expression.\" That kind of law gives " +"them lots of work. But our framers had a simpler idea in mind: protected " +"versus unprotected. The value of short terms is that there is little need " +"to build exceptions into copyright when the term itself is kept short. A " +"clear and active \"lawyer-free zone\" makes the complexities of \"fair use\" " +"and \"idea/expression\" less necessary to navigate." +msgstr "" + +#. f4. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para><footnote><para> +msgid "" +"Department of Veterans Affairs, Veteran's Application for Compensation and/" +"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), available at <ulink " +"url=\"http://free-culture.cc/notes/\">link #75</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"Keep it alive: Copyright should have to be renewed. Especially if the " +"maximum term is long, the copyright owner should be required to signal " +"periodically that he wants the protection continued. This need not be an " +"onerous burden, but there is no reason this monopoly protection has to be " +"granted for free. On average, it takes ninety minutes for a veteran to apply " +"for a pension.<placeholder type=\"footnote\" id=\"0\"/> If we make veterans " +"suffer that burden, I don't see why we couldn't require authors to spend ten " +"minutes every fifty years to file a single form." +msgstr "" + +#. (4) +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"Keep it prospective: Whatever the term of copyright should be, the clearest " +"lesson that economists teach is that a term once given should not be " +"extended. It might have been a mistake in 1923 for the law to offer authors " +"only a fifty-six-year term. I don't think so, but it's possible. If it was a " +"mistake, then the consequence was that we got fewer authors to create in " +"1923 than we otherwise would have. But we can't correct that mistake today " +"by increasing the term. No matter what we do today, we will not increase the " +"number of authors who wrote in 1923. Of course, we can increase the reward " +"that those who write now get (or alternatively, increase the copyright " +"burden that smothers many works that are today invisible). But increasing " +"their reward will not increase their creativity in 1923. What's not done is " +"not done, and there's nothing we can do about that now." +msgstr "" +"holde det potensielle: hva begrepet av opphavsrett skal være, klareste " +"lærdommen om at økonomer lære er at en term når gitt ikke bør utvides. Det " +"kan ha vært en feil i 1923 for lov å tilby forfattere bare en femti-seks års " +"sikt. Jeg tror ikke det, men det er mulig. Hvis det var en feil, da var " +"konsekvensen at vi fikk færre forfattere å opprette i 1923 enn vi ellers " +"ville ha. men vi kan ikke korrigere at feil i dag ved å øke begrepet. " +"Uansett hva vi gjør i dag, vil vi ikke øke antall forfattere som skrev i " +"1923. Selvfølgelig, kan vi øke belønning som dem som skriver nå få (eller " +"eventuelt øke opphavsrett byrden som smothers mange fungerer som i dag er " +"usynlig). men øke deres belønning vil ikke øke sin kreativitet i 1923. Hva " +"er ikke gjort er ikke gjort, og det er ingenting vi kan gjøre med det nå." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These changes together should produce an average copyright term that is much " +"shorter than the current term. Until 1976, the average term was just 32.2 " +"years. We should be aiming for the same." +msgstr "" +"disse endringene skal sammen produsere en gjennomsnittlig opphavsrett begrep " +"som er mye kortere enn gjeldende begrepet. frem til 1976 var gjennomsnittlig " +"begrepet bare 32.2 år. Vi bør være sikter for samme." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"No doubt the extremists will call these ideas \"radical.\" (After all, I " +"call them \"extremists.\") But again, the term I recommended was longer than " +"the term under Richard Nixon. How \"radical\" can it be to ask for a more " +"generous copyright law than Richard Nixon presided over?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "3. Free Use Vs. Fair Use" +msgstr "3. gratis bruk vs. fair use" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"As I observed at the beginning of this book, property law originally granted " +"property owners the right to control their property from the ground to the " +"heavens. The airplane came along. The scope of property rights quickly " +"changed. There was no fuss, no constitutional challenge. It made no sense " +"anymore to grant that much control, given the emergence of that new " +"technology." +msgstr "" +"som jeg observert i begynnelsen av denne boken, gitt " +"opphavsrettslovgivningen opprinnelig bolig retten til å kontrollere deres " +"eiendom fra bakken til himmelen. flyet kom. omfanget av eiendomsrettigheter " +"endres raskt. Det var ingen oppstyr, ingen konstitusjonelle utfordring. det " +"gjorde ingen sans lenger for å gi så mye kontroll, gitt fremveksten av den " +"nye teknologien." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Our Constitution gives Congress the power to give authors \"exclusive right" +"\" to \"their writings.\" Congress has given authors an exclusive right to " +"\"their writings\" plus any derivative writings (made by others) that are " +"sufficiently close to the author's original work. Thus, if I write a book, " +"and you base a movie on that book, I have the power to deny you the right to " +"release that movie, even though that movie is not \"my writing.\"" +msgstr "" + +#. f5. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia " +"University Press, 1967), 32." +msgstr "" +"Benjamin kaplan, en makelige visning av opphavsrett (new york: columbia " +"university press, 1967), 32." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Congress granted the beginnings of this right in 1870, when it expanded the " +"exclusive right of copyright to include a right to control translations and " +"dramatizations of a work.<placeholder type=\"footnote\" id=\"0\"/> The " +"courts have expanded it slowly through judicial interpretation ever since. " +"This expansion has been commented upon by one of the law's greatest judges, " +"Judge Benjamin Kaplan." +msgstr "" + +#. f6. +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +msgid "Ibid., 56." +msgstr "ibid., 56." + +#. type: Content of: <book><chapter><sect1><sect2><blockquote><para> +msgid "" +"So inured have we become to the extension of the monopoly to a large range " +"of so-called derivative works, that we no longer sense the oddity of " +"accepting such an enlargement of copyright while yet intoning the " +"abracadabra of idea and expression.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I think it's time to recognize that there are airplanes in this field and " +"the expansiveness of these rights of derivative use no longer make sense. " +"More precisely, they don't make sense for the period of time that a " +"copyright runs. And they don't make sense as an amorphous grant. Consider " +"each limitation in turn." +msgstr "" +"Jeg tror det er på tide å anerkjenne at det er fly i dette feltet og " +"expansiveness av disse rettigheter til avledede bruk ikke lenger fornuftig. " +"mer presist, fornuftig de ikke for hvor lang tid som en copyright kjører. og " +"de har ikke noen mening som en formløse grant. vurdere hver begrensning " +"igjen." + +#. PAGE BREAK 300 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Term: If Congress wants to grant a derivative right, then that right should " +"be for a much shorter term. It makes sense to protect John Grisham's right " +"to sell the movie rights to his latest novel (or at least I'm willing to " +"assume it does); but it does not make sense for that right to run for the " +"same term as the underlying copyright. The derivative right could be " +"important in inducing creativity; it is not important long after the " +"creative work is done." +msgstr "" +"begrepet: Hvis Kongressen vil gi et derivat rett, og at høyre skal være for " +"en mye kortere sikt. Det er fornuftig å beskytte john grisham's rett til å " +"selge film rettighetene til hans siste roman (eller minst er jeg villig til " +"å påta seg det gjør); men det gjør ikke sans for det riktig å kjøre på samme " +"ordet som underliggende opphavsretten. avledede høyre kan være viktig i " +"inducing kreativitet; Det er ikke viktig lenge etter skapende arbeid er " +"gjort." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Scope: Likewise should the scope of derivative rights be narrowed. Again, " +"there are some cases in which derivative rights are important. Those should " +"be specified. But the law should draw clear lines around regulated and " +"unregulated uses of copyrighted material. When all \"reuse\" of creative " +"material was within the control of businesses, perhaps it made sense to " +"require lawyers to negotiate the lines. It no longer makes sense for lawyers " +"to negotiate the lines. Think about all the creative possibilities that " +"digital technologies enable; now imagine pouring molasses into the machines. " +"That's what this general requirement of permission does to the creative " +"process. Smothers it." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This was the point that Alben made when describing the making of the Clint " +"Eastwood CD. While it makes sense to require negotiation for foreseeable " +"derivative rights--turning a book into a movie, or a poem into a musical " +"score--it doesn't make sense to require negotiation for the unforeseeable. " +"Here, a statutory right would make much more sense." +msgstr "" +"Dette var poenget som alben gjort når beskriver inngåelse av clint eastwood-" +"cd. mens det er fornuftig å kreve forhandling for overskuelig avledede " +"rettigheter--snu en bok i en film eller et dikt i en musikalsk poengsum--det " +"ikke fornuftig å kreve forhandling for den unforeseeable. her, ville en " +"lovfestet rett gjøre mye mer fornuftig." + +#. f7. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial " +#| "Jukebox (Stanford: Stanford University Press, 2003), 187­216." +msgid "" +"Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox " +"(Stanford: Stanford University Press, 2003), 187­216." +msgstr "" +"Paul goldstein, copyright's highway: fra gutenberg til den himmelske " +"jukeboksen (stanford: stanford university press, 2003), 187­216." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In each of these cases, the law should mark the uses that are protected, and " +"the presumption should be that other uses are not protected. This is the " +"reverse of the recommendation of my colleague Paul Goldstein.<placeholder " +"type=\"footnote\" id=\"0\"/> His view is that the law should be written so " +"that expanded protections follow expanded uses." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Goldstein's analysis would make perfect sense if the cost of the legal " +"system were small. But as we are currently seeing in the context of the " +"Internet, the uncertainty about the scope of protection, and the incentives " +"to protect existing architectures of revenue, combined with a strong " +"copyright, weaken the process of innovation." +msgstr "" +"goldstein's analyse ville gjøre perfekt forstand Hvis kostnaden for juridisk " +"system var små. men som vi nå ser i sammenheng med Internett, usikkerhet om " +"omfanget av beskyttelse og insentiver for å beskytte eksisterende " +"arkitekturer av inntekt, kombinert med en sterk copyright svekke prosessen " +"med innovasjon." + +#. PAGE BREAK 301 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The law could remedy this problem either by removing protection beyond the " +"part explicitly drawn or by granting reuse rights upon certain statutory " +"conditions. Either way, the effect would be to free a great deal of culture " +"to others to cultivate. And under a statutory rights regime, that reuse " +"would earn artists more income." +msgstr "" +"loven kan rette opp dette problemet ved å fjerne beskyttelsen utover delen " +"som er eksplisitt tegnede eller ved å gi gjenbruk rettigheter på visse " +"lovbestemte betingelser. Uansett hva effekten ville være å frigjøre mye " +"kultur for andre å dyrke. og under en lovbestemte rettigheter-regimet at " +"gjenbruk ville tjene artister mer inntekter." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "4. Liberate the Music--Again" +msgstr "4. frigjøre musikk--på nytt" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The battle that got this whole war going was about music, so it wouldn't be " +"fair to end this book without addressing the issue that is, to most people, " +"most pressing--music. There is no other policy issue that better teaches the " +"lessons of this book than the battles around the sharing of music." +msgstr "" +"Slaget som fikk dette hele krigen går var om musikk, så det ikke ville være " +"rettferdig å avslutte denne boken uten å ta opp problemet som er, for " +"fleste, de fleste presserende--musikk. Det er ingen andre spørsmål som bedre " +"lærer erfaringene fra denne boken enn slagene rundt deling av musikk." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The appeal of file-sharing music was the crack cocaine of the Internet's " +"growth. It drove demand for access to the Internet more powerfully than any " +"other single application. It was the Internet's killer app--possibly in two " +"senses of that word. It no doubt was the application that drove demand for " +"bandwidth. It may well be the application that drives demand for regulations " +"that in the end kill innovation on the network." +msgstr "" +"Anken av fildelings-musikken var crack-kokain av internetts vekst. den " +"kjørte behov for tilgang til Internett mer kraftfullt enn andre enkelt " +"program. Det var Internetts killer app--muligens i to sanser i beskrivelsen " +"av ordet. Det var ingen tvil om programmet som kjørte etterspørselen etter " +"båndbredde. Det kan godt være programmet som driver etterspørselen etter " +"forskrifter som til slutt drepe innovasjon på nettverket." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The aim of copyright, with respect to content in general and music in " +"particular, is to create the incentives for music to be composed, performed, " +"and, most importantly, spread. The law does this by giving an exclusive " +"right to a composer to control public performances of his work, and to a " +"performing artist to control copies of her performance." +msgstr "" +"Målet med opphavsrett, med hensyn til innhold Generelt og musikk er spesielt " +"å skape insentiver for musikk komponert, utført, og, viktigst, spre. loven " +"gjør dette ved å gi en eksklusiv rett til en komponisten å kontrollere " +"offentlig fremføring av sitt arbeid, og til en profesjonell artist å " +"kontrollere kopier av hennes ytelse." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"File-sharing networks complicate this model by enabling the spread of " +"content for which the performer has not been paid. But of course, that's not " +"all the file-sharing networks do. As I described in chapter 5, they enable " +"four different kinds of sharing:" +msgstr "" +"fildeling nettverk komplisere denne modellen ved å aktivere spredning av " +"innhold som utøveren ikke er blitt betalt. men selvfølgelig, det er ikke " +"alle fildeling nettverk gjør. som jeg beskrevet i kapittel 5, aktivere de " +"fire forskjellige typer deling:" + +#. A. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"There are some who are using sharing networks as substitutes for purchasing " +"CDs." +msgstr "" +"Det er noen som bruker deling nettverk som erstatninger for å kjøpe CDer." + +#. B. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"There are also some who are using sharing networks to sample, on the way to " +"purchasing CDs." +msgstr "" +"Det er også noen som bruker deling nettverk for å prøve, på vei til å kjøpe " +"CDer." + +#. PAGE BREAK 302 +#. C. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"There are many who are using file-sharing networks to get access to content " +"that is no longer sold but is still under copyright or that would have been " +"too cumbersome to buy off the Net." +msgstr "" +"Det er mange som bruker fildelingsprogrammer nettverk til å få tilgang til " +"innhold som selges ikke lenger, men er fortsatt under opphavsrett eller som " +"ville ha vært altfor tunge å kjøpe fra nettet." + +#. D. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"There are many who are using file-sharing networks to get access to content " +"that is not copyrighted or to get access that the copyright owner plainly " +"endorses." +msgstr "" +"Det er mange som bruker fildelingsprogrammer nettverk å få tilgang til " +"innhold som ikke er beskyttet av opphavsretten, eller å få tilgang som " +"eieren av opphavsretten tydelig godkjenner." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Any reform of the law needs to keep these different uses in focus. It must " +"avoid burdening type D even if it aims to eliminate type A. The eagerness " +"with which the law aims to eliminate type A, moreover, should depend upon " +"the magnitude of type B. As with VCRs, if the net effect of sharing is " +"actually not very harmful, the need for regulation is significantly weakened." +msgstr "" +"noen reform av loven behov for å holde disse ulike bruksområder i fokus. den " +"må unngå bebyrde type d selv om formålet er å eliminere type a. den iver " +"etter med som loven sikte på å eliminere type a, videre bør avhenger " +"omfanget av typen b. som med videospillere, hvis netto effekt av en deling " +"er faktisk ikke svært skadelige, behovet for regulering er betydelig svekket." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"As I said in chapter 5, the actual harm caused by sharing is controversial. " +"For the purposes of this chapter, however, I assume the harm is real. I " +"assume, in other words, that type A sharing is significantly greater than " +"type B, and is the dominant use of sharing networks." +msgstr "" +"som jeg sa i kapittel 5, er den faktiske skaden forårsaket av deling " +"kontroversielt. i hensikt av dette kapitlet, men antar jeg skaden er reell. " +"Jeg antar, med andre ord, denne typen en deling er betydelig større enn type " +"b, og er dominerende bruk av deling av nettverk." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Nonetheless, there is a crucial fact about the current technological context " +"that we must keep in mind if we are to understand how the law should respond." +msgstr "" +"Likevel, det er en avgjørende faktor om gjeldende teknologiske kontekst som " +"vi må huske på at vi skal forstå hvordan loven skal reagere." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Today, file sharing is addictive. In ten years, it won't be. It is addictive " +"today because it is the easiest way to gain access to a broad range of " +"content. It won't be the easiest way to get access to a broad range of " +"content in ten years. Today, access to the Internet is cumbersome and slow--" +"we in the United States are lucky to have broadband service at 1.5 MBs, and " +"very rarely do we get service at that speed both up and down. Although " +"wireless access is growing, most of us still get access across wires. Most " +"only gain access through a machine with a keyboard. The idea of the always " +"on, always connected Internet is mainly just an idea." +msgstr "" +"i dag, er fildeling addictive. i ti år, vil ikke det være. Det er addictive " +"i dag fordi det er den enkleste måten å få tilgang til et bredt spekter av " +"innhold. det vil ikke være den enkleste måten å få tilgang til et bredt " +"spekter av innhold i ti år. i dag, tilgang til Internett er tunge og sakte--" +"vi i USA er heldig å ha bredbåndstjeneste på 1,5 mbs og svært sjelden får vi " +"service på den hastigheten som er både opp og ned. Selv om trådløs tilgang " +"er økende, få de fleste av oss fortsatt tilgang på tvers av ledninger. de " +"fleste bare få tilgang gjennom en maskin med et tastatur. ideen om den " +"alltid på, alltid tilkoblet Internett er hovedsakelig bare en idé." + +#. PAGE BREAK 303 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But it will become a reality, and that means the way we get access to the " +"Internet today is a technology in transition. Policy makers should not make " +"policy on the basis of technology in transition. They should make policy on " +"the basis of where the technology is going. The question should not be, how " +"should the law regulate sharing in this world? The question should be, what " +"law will we require when the network becomes the network it is clearly " +"becoming? That network is one in which every machine with electricity is " +"essentially on the Net; where everywhere you are--except maybe the desert or " +"the Rockies--you can instantaneously be connected to the Internet. Imagine " +"the Internet as ubiquitous as the best cell-phone service, where with the " +"flip of a device, you are connected." +msgstr "" +"men det vil bli en realitet, og det betyr at måten vi får tilgang til " +"Internett i dag er en teknologi i overgangen. beslutningstakere må ikke " +"policyen på grunnlag av teknologi i overgangen. de bør gjøre policyen på " +"grunnlag av hvor teknologien går. spørsmålet bør ikke være, og hvordan bør " +"loven regulere deling i denne verden? spørsmålet bør være, hva loven vil vi " +"krever når nettverket blir nettverket blir det klart? Dette nettverket er en " +"der hver enkelt maskin med elektrisitet er egentlig på nettet; der overalt " +"du er--unntatt kanskje ørkenen eller rockies--du kan umiddelbart kobles til " +"Internett. Tenk deg så allestedsnærværende som beste mobiltelefonen " +"tjenesten, der med flippen på en enhet, du er tilkoblet Internett." + +#. f8. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"See, for example, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 April " +"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #76</" +"ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"In that world, it will be extremely easy to connect to services that give " +"you access to content on the fly--such as Internet radio, content that is " +"streamed to the user when the user demands. Here, then, is the critical " +"point: When it is extremely easy to connect to services that give access to " +"content, it will be easier to connect to services that give you access to " +"content than it will be to download and store content on the many devices " +"you will have for playing content. It will be easier, in other words, to " +"subscribe than it will be to be a database manager, as everyone in the " +"download-sharing world of Napster-like technologies essentially is. Content " +"services will compete with content sharing, even if the services charge " +"money for the content they give access to. Already cell-phone services in " +"Japan offer music (for a fee) streamed over cell phones (enhanced with plugs " +"for headphones). The Japanese are paying for this content even though \"free" +"\" content is available in the form of MP3s across the Web.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 304 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This point about the future is meant to suggest a perspective on the " +"present: It is emphatically temporary. The \"problem\" with file sharing--to " +"the extent there is a real problem--is a problem that will increasingly " +"disappear as it becomes easier to connect to the Internet. And thus it is " +"an extraordinary mistake for policy makers today to be \"solving\" this " +"problem in light of a technology that will be gone tomorrow. The question " +"should not be how to regulate the Internet to eliminate file sharing (the " +"Net will evolve that problem away). The question instead should be how to " +"assure that artists get paid, during this transition between twentieth-" +"century models for doing business and twenty-first-century technologies." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The answer begins with recognizing that there are different \"problems\" " +"here to solve. Let's start with type D content--uncopyrighted content or " +"copyrighted content that the artist wants shared. The \"problem\" with this " +"content is to make sure that the technology that would enable this kind of " +"sharing is not rendered illegal. You can think of it this way: Pay phones " +"are used to deliver ransom demands, no doubt. But there are many who need " +"to use pay phones who have nothing to do with ransoms. It would be wrong to " +"ban pay phones in order to eliminate kidnapping." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Type C content raises a different \"problem.\" This is content that was, at " +"one time, published and is no longer available. It may be unavailable " +"because the artist is no longer valuable enough for the record label he " +"signed with to carry his work. Or it may be unavailable because the work is " +"forgotten. Either way, the aim of the law should be to facilitate the access " +"to this content, ideally in a way that returns something to the artist." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Again, the model here is the used book store. Once a book goes out of print, " +"it may still be available in libraries and used book stores. But libraries " +"and used book stores don't pay the copyright owner when someone reads or " +"buys an out-of-print book. That makes total sense, of course, since any " +"other system would be so burdensome as to eliminate the possibility of used " +"book stores' existing. But from the author's perspective, this \"sharing\" " +"of his content without his being compensated is less than ideal." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The model of used book stores suggests that the law could simply deem out-of-" +"print music fair game. If the publisher does not make copies of the music " +"available for sale, then commercial and noncommercial providers would be " +"free, under this rule, to \"share\" that content, even though the sharing " +"involved making a copy. The copy here would be incidental to the trade; in a " +"context where commercial publishing has ended, trading music should be as " +"free as trading books." +msgstr "" + +#. PAGE BREAK 305 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Alternatively, the law could create a statutory license that would ensure " +"that artists get something from the trade of their work. For example, if the " +"law set a low statutory rate for the commercial sharing of content that was " +"not offered for sale by a commercial publisher, and if that rate were " +"automatically transferred to a trust for the benefit of the artist, then " +"businesses could develop around the idea of trading this content, and " +"artists would benefit from this trade." +msgstr "" +"loven kan eventuelt opprette en lovbestemte lisens som vil sørge for at " +"artister får noe fra handel av sitt arbeid. for eksempel hvis loven satt en " +"lav lovbestemte sats for kommersielle deling av innhold som ikke ble tilbudt " +"for salg av en kommersiell utgiver, og hvis den hastigheten ble automatisk " +"overført til en tillit til fordel for kunstneren, deretter bedrifter kan " +"utvikle rundt ideen om handel dette innholdet, og kunstnere vil dra nytte av " +"denne handelen." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This system would also create an incentive for publishers to keep works " +"available commercially. Works that are available commercially would not be " +"subject to this license. Thus, publishers could protect the right to charge " +"whatever they want for content if they kept the work commercially available. " +"But if they don't keep it available, and instead, the computer hard disks of " +"fans around the world keep it alive, then any royalty owed for such copying " +"should be much less than the amount owed a commercial publisher." +msgstr "" +"Dette systemet vil også skape et insentiv for utgivere å holde works " +"tilgjengelig kommersielt. verk som er kommersielt tilgjengelige ville ikke " +"være underlagt denne lisensen. utgivere kan derfor beskytte retten til å " +"belaste hva de vil for innhold hvis de holdt arbeidet som er kommersielt " +"tilgjengelig. men hvis de ikke holde det tilgjengelig, og i stedet, " +"datamaskin harddisk av fans over hele verden holde det Live, deretter alle " +"royalty skyldte for slike kopiering bør være mye mindre enn beløpet skyldte " +"en kommersiell utgiver." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The hard case is content of types A and B, and again, this case is hard only " +"because the extent of the problem will change over time, as the technologies " +"for gaining access to content change. The law's solution should be as " +"flexible as the problem is, understanding that we are in the middle of a " +"radical transformation in the technology for delivering and accessing " +"content." +msgstr "" +"vanskelig saken er innhold av typer en og b, og igjen, denne saken er " +"vanskelig fordi omfanget av problemet vil endres over tid, som teknologiene " +"for å få tilgang til innhold endres. lovens løsning skal være så fleksibelt " +"som problemet er, forstå at vi er midt i en radikal endring i teknologien " +"for å levere og tilgang til innhold." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"So here's a solution that will at first seem very strange to both sides in " +"this war, but which upon reflection, I suggest, should make some sense." +msgstr "" +"så her er en løsning som vil først virke underlig til begge sider i denne " +"krigen, men som på refleksjon, jeg foreslå, bør gjøre noe fornuftig." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Stripped of the rhetoric about the sanctity of property, the basic claim of " +"the content industry is this: A new technology (the Internet) has harmed a " +"set of rights that secure copyright. If those rights are to be protected, " +"then the content industry should be compensated for that harm. Just as the " +"technology of tobacco harmed the health of millions of Americans, or the " +"technology of asbestos caused grave illness to thousands of miners, so, too, " +"has the technology of digital networks harmed the interests of the content " +"industry." +msgstr "" +"frastjålet retorikken om sanctity av egenskapen, grunnleggende kravet av " +"innhold industrien er dette: en ny teknologi (Internett) har skadet et sett " +"med rettigheter som sikre copyright. Hvis disse rettighetene er å bli " +"beskyttet, så innhold industrien skal kompenseres for at skade. akkurat som " +"teknologien av tobakk skadet helsen til millioner av amerikanere, eller " +"teknologien for asbest forårsaket en alvorlig sykdom til tusenvis av miners, " +"så har også, teknologien for digitale nettverk skadet interessene til " +"innhold industrien." + +#. PAGE BREAK 306 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I love the Internet, and so I don't like likening it to tobacco or " +"asbestos. But the analogy is a fair one from the perspective of the law. " +"And it suggests a fair response: Rather than seeking to destroy the " +"Internet, or the p2p technologies that are currently harming content " +"providers on the Internet, we should find a relatively simple way to " +"compensate those who are harmed." +msgstr "" +"Jeg elsker Internett, og så jeg ikke liker likening det til tobakk eller " +"asbest. men analogien er en rettferdig en fra et perspektiv av loven. og det " +"antyder en virkelig svar: i stedet for søker å ødelegge Internett eller p2p-" +"teknologier som er tiden skade innholdsleverandører på Internett, må vi " +"finne en relativt enkel måte å kompensere de som er skadet." + +#. f9. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"William Fisher, Digital Music: Problems and Possibilities (last revised: 10 " +"October 2000), available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #77</ulink>; William Fisher, Promises to Keep: Technology, Law, and " +"the Future of Entertainment (forthcoming) (Stanford: Stanford University " +"Press, 2004), ch. 6, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #78</ulink>. Professor Netanel has proposed a related idea that " +"would exempt noncommercial sharing from the reach of copyright and would " +"establish compensation to artists to balance any loss. See Neil Weinstock " +"Netanel, \"Impose a Noncommercial Use Levy to Allow Free P2P File Sharing,\" " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. " +"For other proposals, see Lawrence Lessig, \"Who's Holding Back Broadband?\" " +"Washington Post, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman " +"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate " +"Foreign Relations Committee, 26 February 2002, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, A Quick " +"Case for Intellectual Property Use Fee (IPUF), 3 March 2002, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson " +"Graham, \"Kazaa, Verizon Propose to Pay Artists Directly,\" USA Today, 13 " +"May 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#82</ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum " +"Online, 1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" " +"CNET News.com, 27 August 2002, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #84</ulink>. Fisher's proposal is very similar to Richard " +"Stallman's proposal for DAT. Unlike Fisher's, Stallman's proposal would not " +"pay artists directly proportionally, though more popular artists would get " +"more than the less popular. As is typical with Stallman, his proposal " +"predates the current debate by about a decade. See <ulink url=\"http://free-" +"culture.cc/notes/\">link #85</ulink>." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The idea would be a modification of a proposal that has been floated by " +"Harvard law professor William Fisher.<placeholder type=\"footnote\" id=\"0\"/" +"> Fisher suggests a very clever way around the current impasse of the " +"Internet. Under his plan, all content capable of digital transmission would " +"(1) be marked with a digital watermark (don't worry about how easy it is to " +"evade these marks; as you'll see, there's no incentive to evade them). Once " +"the content is marked, then entrepreneurs would develop (2) systems to " +"monitor how many items of each content were distributed. On the basis of " +"those numbers, then (3) artists would be compensated. The compensation would " +"be paid for by (4) an appropriate tax." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Fisher's proposal is careful and comprehensive. It raises a million " +"questions, most of which he answers well in his upcoming book, Promises to " +"Keep. The modification that I would make is relatively simple: Fisher " +"imagines his proposal replacing the existing copyright system. I imagine it " +"complementing the existing system. The aim of the proposal would be to " +"facilitate compensation to the extent that harm could be shown. This " +"compensation would be temporary, aimed at facilitating a transition between " +"regimes. And it would require renewal after a period of years. If it " +"continues to make sense to facilitate free exchange of content, supported " +"through a taxation system, then it can be continued. If this form of " +"protection is no longer necessary, then the system could lapse into the old " +"system of controlling access." +msgstr "" +"fisher's forslag er grundige og omfattende. det reiser en million " +"spørsmålene, mest av som han svarer godt i hans kommende bok, lover å holde. " +"endring som jeg ville gjøre er relativt enkel: fisher bilder hans forslag " +"erstatte eksisterende opphavsretten til systemet. Jeg antar det utfyller det " +"eksisterende systemet. Målet med forslaget vil være å forenkle kompensasjon " +"i den grad at skade kan bli vist. Denne kompensasjon skulle være " +"midlertidig, som tar sikte på å lette en overgang mellom regimer. og det " +"ville kreve fornyelse etter en periode med årene. Hvis den fortsetter å gi " +"mening å forenkle gratis utveksling av innhold, støttet gjennom en " +"skattesystemet, så det kan fortsettes. Hvis denne typen beskyttelse ikke " +"lenger er nødvendig, kan systemet lapse i det gamle systemet å kontrollere " +"tilgangen." + +#. PAGE BREAK 307 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Fisher would balk at the idea of allowing the system to lapse. His aim is " +"not just to ensure that artists are paid, but also to ensure that the system " +"supports the widest range of \"semiotic democracy\" possible. But the aims " +"of semiotic democracy would be satisfied if the other changes I described " +"were accomplished--in particular, the limits on derivative uses. A system " +"that simply charges for access would not greatly burden semiotic democracy " +"if there were few limitations on what one was allowed to do with the content " +"itself." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"No doubt it would be difficult to calculate the proper measure of \"harm\" " +"to an industry. But the difficulty of making that calculation would be " +"outweighed by the benefit of facilitating innovation. This background system " +"to compensate would also not need to interfere with innovative proposals " +"such as Apple's MusicStore. As experts predicted when Apple launched the " +"MusicStore, it could beat \"free\" by being easier than free is. This has " +"proven correct: Apple has sold millions of songs at even the very high price " +"of 99 cents a song. (At 99 cents, the cost is the equivalent of a per-song " +"CD price, though the labels have none of the costs of a CD to pay.) Apple's " +"move was countered by Real Networks, offering music at just 79 cents a song. " +"And no doubt there will be a great deal of competition to offer and sell " +"music on-line." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This competition has already occurred against the background of \"free\" " +"music from p2p systems. As the sellers of cable television have known for " +"thirty years, and the sellers of bottled water for much more than that, " +"there is nothing impossible at all about \"competing with free.\" Indeed, if " +"anything, the competition spurs the competitors to offer new and better " +"products. This is precisely what the competitive market was to be about. " +"Thus in Singapore, though piracy is rampant, movie theaters are often " +"luxurious--with \"first class\" seats, and meals served while you watch a " +"movie--as they struggle and succeed in finding ways to compete with \"free.\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"This regime of competition, with a backstop to assure that artists don't " +"lose, would facilitate a great deal of innovation in the delivery of " +"content. That competition would continue to shrink type A sharing. It would " +"inspire an extraordinary range of new innovators--ones who would have a " +"right to the content, and would no longer fear the uncertain and " +"barbarically severe punishments of the law." +msgstr "" +"Dette regimet av konkurranse, med en backstop å sikre at kunstnere ikke " +"mister, ville gjøre mye innovasjon innen levering av innhold. at " +"konkurransen ville fortsette å krympe type en deling. det vil inspirere en " +"ekstraordinære rekke nye innovators--de som ville ha rett til innholdet, og " +"ville ikke lenger frykter usikker og barbarically alvorlige straffene av " +"loven." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "In summary, then, my proposal is this:" +msgstr "Oppsummert, så er mitt forslag dette:" + +#. PAGE BREAK 308 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The Internet is in transition. We should not be regulating a technology in " +"transition. We should instead be regulating to minimize the harm to " +"interests affected by this technological change, while enabling, and " +"encouraging, the most efficient technology we can create." +msgstr "" +"Internett er i overgang. Vi bør ikke regulerer en teknologi i overgangen. Vi " +"bør i stedet regulerer for å minimere skade på interesser som er berørt av " +"denne teknologiske endringen, samtidig som du gir, og oppmuntre, den mest " +"effektive teknologien vi kan opprette." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "We can minimize that harm while maximizing the benefit to innovation by" +msgstr "" +"Vi kan minimere den skade samtidig maksimere fordelen til innovasjon av" + +#. 1. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "guaranteeing the right to engage in type D sharing;" +msgstr "garantere retten til å engasjere seg i type-d dele;" + +#. 2. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"permitting noncommercial type C sharing without liability, and commercial " +"type C sharing at a low and fixed rate set by statute;" +msgstr "" +"tillater ikke-kommersiell type c deling uten erstatningsansvar og " +"kommersielle type c deling med en lav og fast hastighet ved lov;" + +#. 3. +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> +msgid "" +"while in this transition, taxing and compensating for type A sharing, to the " +"extent actual harm is demonstrated." +msgstr "" +"mens du er i denne overgangen, taxing og kompensere for typen en deling, i " +"grad er faktiske skade vist." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But what if \"piracy\" doesn't disappear? What if there is a competitive " +"market providing content at a low cost, but a significant number of " +"consumers continue to \"take\" content for nothing? Should the law do " +"something then?" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Yes, it should. But, again, what it should do depends upon how the facts " +"develop. These changes may not eliminate type A sharing. But the real issue " +"is not whether it eliminates sharing in the abstract. The real issue is its " +"effect on the market. Is it better (a) to have a technology that is 95 " +"percent secure and produces a market of size x, or (b) to have a technology " +"that is 50 percent secure but produces a market of five times x? Less secure " +"might produce more unauthorized sharing, but it is likely to also produce a " +"much bigger market in authorized sharing. The most important thing is to " +"assure artists' compensation without breaking the Internet. Once that's " +"assured, then it may well be appropriate to find ways to track down the " +"petty pirates." +msgstr "" +"Ja, det skal. men igjen, hva det gjør avhenger hvordan fakta utvikle. disse " +"endringene kan ikke eliminere type en deling. men det virkelige problemet er " +"ikke om det eliminerer deling i abstrakt. det virkelige problemet er sin " +"effekt på markedet. er det bedre (a) å ha en teknologi som er 95 prosent " +"sikker og produserer et marked av størrelse x, eller (b) for å ha en " +"teknologi som er 50 prosent sikker, men gir et marked av fem ganger x? " +"mindre sikker kan gi mer uautorisert deling, men det er sannsynlig å " +"produsere også et mye større marked i autoriserte deling. viktigste er å " +"sikre kunstneres kompensasjon uten å bryte Internett. Når som er trygg, kan " +"deretter det godt være riktig å finne måter å spore opp smålig pirates." + +#. PAGE BREAK 309 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But we're a long way away from whittling the problem down to this subset of " +"type A sharers. And our focus until we're there should not be on finding " +"ways to break the Internet. Our focus until we're there should be on how to " +"make sure the artists are paid, while protecting the space for innovation " +"and creativity that the Internet is." +msgstr "" +"men vi er langt unna whittling problemet ned til dette delsettet av typen en " +"sharers. og vårt fokus før vi er det bør ikke være på å finne måter å bryte " +"Internett. vårt fokus før vi er det bør være på hvordan du kontrollerer " +"kunstnerne er betalt, og beskytter området for innovasjon og kreativitet som " +"Internett er." + +#. type: Content of: <book><chapter><sect1><sect2><title> +msgid "5. Fire Lots of Lawyers" +msgstr "5. brann masse advokater" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"I'm a lawyer. I make lawyers for a living. I believe in the law. I believe " +"in the law of copyright. Indeed, I have devoted my life to working in law, " +"not because there are big bucks at the end but because there are ideals at " +"the end that I would love to live." +msgstr "" +"Jeg er en advokat. jeg gjøre advokater for en lever. Jeg tror på loven. Jeg " +"tror på loven om opphavsrett. Jeg har faktisk viet livet til arbeider i lov, " +"ikke fordi det er stor bukk på slutten, men fordi det er idealer på slutten " +"som jeg ville elske å leve." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Yet much of this book has been a criticism of lawyers, or the role lawyers " +"have played in this debate. The law speaks to ideals, but it is my view that " +"our profession has become too attuned to the client. And in a world where " +"the rich clients have one strong view, the unwillingness of the profession " +"to question or counter that one strong view queers the law." +msgstr "" +"likevel mye av denne boken har vært en kritikk av advokater, eller rolle " +"advokater har spilt i denne debatten. loven taler til idealer, men det er " +"min oppfatning at vårt yrke bli for attuned til klienten. og i en verden der " +"rike klientene har en sterk visning, yrke å spørsmålet eller telleren uvilje " +"mot en sterk visningen queers loven." + +#. f10. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Lawrence Lessig, \\\"Copyright's First Amendment\\\" (Melville B. Nimmer " +#| "Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069­70." +msgid "" +"Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer " +"Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069­70." +msgstr "" +"Lawrence lessig, \\\"copyright's first endring\\\" (melville b. nimmer " +"memorial lecture), ucla lov gå gjennom 48 (2001): 1057, 1069­70." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The evidence of this bending is compelling. I'm attacked as a \"radical\" by " +"many within the profession, yet the positions that I am advocating are " +"precisely the positions of some of the most moderate and significant figures " +"in the history of this branch of the law. Many, for example, thought crazy " +"the challenge that we brought to the Copyright Term Extension Act. Yet just " +"thirty years ago, the dominant scholar and practitioner in the field of " +"copyright, Melville Nimmer, thought it obvious.<placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"However, my criticism of the role that lawyers have played in this debate is " +"not just about a professional bias. It is more importantly about our failure " +"to actually reckon the costs of the law." +msgstr "" +"min kritikk av rollen som advokater har spilt i denne debatten er imidlertid " +"ikke bare om en profesjonell skjevhet. Det er enda viktigere om vår " +"manglende evne til å faktisk regner med kostnadene for loven." + +#. f11. +#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +msgid "" +"A good example is the work of Professor Stan Liebowitz. Liebowitz is to be " +"commended for his careful review of data about infringement, leading him to " +"question his own publicly stated position--twice. He initially predicted " +"that downloading would substantially harm the industry. He then revised his " +"view in light of the data, and he has since revised his view again. Compare " +"Stan J. Liebowitz, Rethinking the Network Economy: The True Forces That " +"Drive the Digital Marketplace (New York: Amacom, 2002), (reviewing his " +"original view but expressing skepticism) with Stan J. Liebowitz, \"Will " +"MP3s Annihilate the Record Industry?\" working paper, June 2003, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #86</ulink>. " +"Liebowitz's careful analysis is extremely valuable in estimating the effect " +"of file-sharing technology. In my view, however, he underestimates the costs " +"of the legal system. See, for example, Rethinking, 174­76." +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Economists are supposed to be good at reckoning costs and benefits. But " +"more often than not, economists, with no clue about how the legal system " +"actually functions, simply assume that the transaction costs of the legal " +"system are slight.<placeholder type=\"footnote\" id=\"0\"/> They see a " +"system that has been around for hundreds of years, and they assume it works " +"the way their elementary school civics class taught them it works." +msgstr "" + +#. PAGE BREAK 310 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But the legal system doesn't work. Or more accurately, it doesn't work for " +"anyone except those with the most resources. Not because the system is " +"corrupt. I don't think our legal system (at the federal level, at least) is " +"at all corrupt. I mean simply because the costs of our legal system are so " +"astonishingly high that justice can practically never be done." +msgstr "" +"men juridiske systemet fungerer ikke. eller mer nøyaktig det fungerer ikke " +"for alle unntatt de med mest ressurser. ikke fordi systemet er skadet. Jeg " +"tror ikke våre juridisk system (på føderalt nivå, minst) er overhodet " +"skadet. Jeg mener bare fordi kostnadene for vår juridiske systemet er så " +"astonishingly høyt som rettferdighet praktisk talt aldri kan gjøres." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"These costs distort free culture in many ways. A lawyer's time is billed at " +"the largest firms at more than $400 per hour. How much time should such a " +"lawyer spend reading cases carefully, or researching obscure strands of " +"authority? The answer is the increasing reality: very little. The law " +"depended upon the careful articulation and development of doctrine, but the " +"careful articulation and development of legal doctrine depends upon careful " +"work. Yet that careful work costs too much, except in the most high-profile " +"and costly cases." +msgstr "" +"disse kostnadene forvrenge fri kultur på mange måter. en advokat tid er " +"fakturert i største selskaper på mer enn $400 per time. hvor mye tid bør " +"slike en advokat tilbringe lesing tilfeller nøye, eller undersøker obskure " +"retninger av myndighet? svaret er økende virkeligheten: svært lite. loven " +"depended upon forsiktig articulation og utvikling av doktrine, men forsiktig " +"articulation og utvikling av juridiske doktrine, avhenger av forsiktig " +"arbeid. men at forsiktig arbeid koster for mye, bortsett fra i de mest " +"høyprofilerte og kostbare tilfeller." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The costliness and clumsiness and randomness of this system mock our " +"tradition. And lawyers, as well as academics, should consider it their duty " +"to change the way the law works--or better, to change the law so that it " +"works. It is wrong that the system works well only for the top 1 percent of " +"the clients. It could be made radically more efficient, and inexpensive, and " +"hence radically more just." +msgstr "" +"costliness og clumsiness og tilfeldigheten til dette systemet håne vår " +"tradisjon. og advokater, samt akademikere, bør vurdere det deres plikt til å " +"endre hvordan loven fungerer-- eller bedre, endre loven slik at det " +"fungerer. Det er galt at systemet fungerer godt bare for toppen 1 prosent av " +"klientene. Det kan gjøres radikalt mer effektiv, og billig og dermed " +"radikalt mer rettferdig." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"But until that reform is complete, we as a society should keep the law away " +"from areas that we know it will only harm. And that is precisely what the " +"law will too often do if too much of our culture is left to its review." +msgstr "" +"men til at reform er fullført, bør vi som et samfunn følger loven fra " +"områder som vi vet det vil bare skade. og det er nettopp hva loven vil " +"altfor ofte gjøre hvis for mye av vår kultur er igjen til gjennomgangen." + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"Think about the amazing things your kid could do or make with digital " +"technology--the film, the music, the Web page, the blog. Or think about the " +"amazing things your community could facilitate with digital technology--a " +"wiki, a barn raising, activism to change something. Think about all those " +"creative things, and then imagine cold molasses poured onto the machines. " +"This is what any regime that requires permission produces. Again, this is " +"the reality of Brezhnev's Russia." +msgstr "" +"Tenk på de fantastiske tingene barnet kan gjøre eller gjøre med digital " +"teknologi--filmen, musikken, web-siden, bloggen. eller Tenk på de " +"fantastiske tingene fellesskapet kunne fasilitere med digital teknologi--en " +"wiki, en låve heve, aktivisme til å endre noe. Tenk på alle de kreative " +"tingene, og deretter tenke kaldt molasses strømmet på maskinene. Dette er " +"hva noen regime som krever tillatelse produserer. igjen, dette er " +"virkeligheten av brezhnev's Russland." + +#. PAGE BREAK 311 +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"The law should regulate in certain areas of culture--but it should regulate " +"culture only where that regulation does good. Yet lawyers rarely test their " +"power, or the power they promote, against this simple pragmatic question: " +"\"Will it do good?\" When challenged about the expanding reach of the law, " +"the lawyer answers, \"Why not?\"" +msgstr "" + +#. type: Content of: <book><chapter><sect1><sect2><para> +msgid "" +"We should ask, \"Why?\" Show me why your regulation of culture is needed. " +"Show me how it does good. And until you can show me both, keep your lawyers " +"away." +msgstr "" + +#. type: Content of: <book><chapter><title> +msgid "NOTES" +msgstr "notater" + +#. type: Content of: <book><chapter><para> +msgid "" +"Throughout this text, there are references to links on the World Wide Web. " +"As anyone who has tried to use the Web knows, these links can be highly " +"unstable. I have tried to remedy the instability by redirecting readers to " +"the original source through the Web site associated with this book. For each " +"link below, you can go to http://free-culture.cc/notes and locate the " +"original source by clicking on the number after the # sign. If the original " +"link remains alive, you will be redirected to that link. If the original " +"link has disappeared, you will be redirected to an appropriate reference for " +"the material." +msgstr "" + +#. type: Content of: <book><chapter><title> +msgid "ACKNOWLEDGMENTS" +msgstr "bekreftelser" + +#. type: Content of: <book><chapter><para> +msgid "" +"This book is the product of a long and as yet unsuccessful struggle that " +"began when I read of Eric Eldred's war to keep books free. Eldred's work " +"helped launch a movement, the free culture movement, and it is to him that " +"this book is dedicated." +msgstr "" +"Denne boken er produktet av en lang og ennå mislykkede kamp som begynte da " +"jeg leste av eric eldred krig å holde bøker gratis. eldred's arbeid bidro " +"til å lansere en bevegelse, fri kultur, og det er til ham at denne boken er " +"dedikert." + +#. type: Content of: <book><chapter><para> +msgid "" +"I received guidance in various places from friends and academics, including " +"Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose, and " +"Kathleen Sullivan. And I received correction and guidance from many amazing " +"students at Stanford Law School and Stanford University. They included " +"Andrew B. Coan, John Eden, James P. Fellers, Christopher Guzelian, Erica " +"Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian Link, Ohad " +"Mayblum, Alina Ng, and Erica Platt. I am particularly grateful to Catherine " +"Crump and Harry Surden, who helped direct their research, and to Laura " +"Lynch, who brilliantly managed the army that they assembled, and provided " +"her own critical eye on much of this." +msgstr "" +"Jeg fikk veiledning i forskjellige steder fra venner og akademikere, " +"inkludert glenn brun, peter dicola, jennifer mnookin, richard posner, " +"markere rose og kathleen sullivan. og jeg fikk korreksjon og veiledning fra " +"mange fantastiske studenter ved stanford law school og stanford university. " +"de inkludert andrew b. coan, john eden, james p. fellers, christopher " +"guzelian, erica goldberg, robert hallman, andrew harris, matthew kahn, brian-" +"kobling, ohad mayblum, alina ng og erica platt. Jeg er særlig takknemlig " +"overfor catherine crump og harry surden, som hjalp direkte deres forskning " +"og til laura lynch, som briljant klarte hæren at de samlet, og ga sin egen " +"kritisk blikk på mye av dette." + +#. PAGE BREAK 337 +#. type: Content of: <book><chapter><para> +msgid "" +"Yuko Noguchi helped me to understand the laws of Japan as well as its " +"culture. I am thankful to her, and to the many in Japan who helped me " +"prepare this book: Joi Ito, Takayuki Matsutani, Naoto Misaki, Michihiro " +"Sasaki, Hiromichi Tanaka, Hiroo Yamagata, and Yoshihiro Yonezawa. I am " +"thankful as well as to Professor Nobuhiro Nakayama, and the Tokyo University " +"Business Law Center, for giving me the chance to spend time in Japan, and to " +"Tadashi Shiraishi and Kiyokazu Yamagami for their generous help while I was " +"there." +msgstr "" +"Yuko noguchi hjalp meg å forstå lovene i japan, så vel som sin kultur. Jeg " +"er takknemlig til henne, og til mange i japan som hjalp meg med å forberede " +"denne boken: joi ito, alt matsutani, naoto misaki, michihiro sasaki " +"hiromichi tanaka, hiroo yamagata og yoshihiro yonezawa. Jeg er takknemlig så " +"vel som professor nobuhiro nakayama og tokyo university business law center, " +"for å gi meg muligheten til å bruke tid i japan, og tadashi shiraishi og " +"kiyokazu yamagami for deres sjenerøs hjelp mens jeg var der." + +#. type: Content of: <book><chapter><para> +msgid "" +"These are the traditional sorts of help that academics regularly draw upon. " +"But in addition to them, the Internet has made it possible to receive advice " +"and correction from many whom I have never even met. Among those who have " +"responded with extremely helpful advice to requests on my blog about the " +"book are Dr. Mohammad Al-Ubaydli, David Gerstein, and Peter DiMauro, as well " +"as a long list of those who had specific ideas about ways to develop my " +"argument. They included Richard Bondi, Steven Cherry, David Coe, Nik " +"Cubrilovic, Bob Devine, Charles Eicher, Thomas Guida, Elihu M. Gerson, " +"Jeremy Hunsinger, Vaughn Iverson, John Karabaic, Jeff Keltner, James " +"Lindenschmidt, K. L. Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan " +"McMullen, Fred Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, " +"Saul Schleimer, Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, " +"Bruce Steinberg, Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko " +"Williams, \"Wink,\" Roger Wood, \"Ximmbo da Jazz,\" and Richard Yanco. (I " +"apologize if I have missed anyone; with computers come glitches, and a crash " +"of my e-mail system meant I lost a bunch of great replies.)" +msgstr "" + +#. type: Content of: <book><chapter><para> +msgid "" +"Richard Stallman and Michael Carroll each read the whole book in draft, and " +"each provided extremely helpful correction and advice. Michael helped me to " +"see more clearly the significance of the regulation of derivitive works. And " +"Richard corrected an embarrassingly large number of errors. While my work is " +"in part inspired by Stallman's, he does not agree with me in important " +"places throughout this book." +msgstr "" +"Richard stallman og michael carroll hver lese hele boken i utkast, og hver " +"forutsatt svært nyttig korreksjon og råd. Michael hjalp meg å se mer tydelig " +"betydningen av regulering av derivitive works. og richard rettet en " +"embarrassingly stort antall feil. mens mitt arbeid er delvis inspirert av " +"Stallmans, enig han ikke med meg viktige steder i denne boken." + +#. type: Content of: <book><chapter><para> +msgid "" +"Finally, and forever, I am thankful to Bettina, who has always insisted that " +"there would be unending happiness away from these battles, and who has " +"always been right. This slow learner is, as ever, grateful for her perpetual " +"patience and love." +msgstr "" +"til slutt, og for evig, jeg er takknemlig til bettina, som har alltid " +"insisterte på at det ville være unending lykke fra disse kampene, og som har " +"alltid vært riktig. Denne slow elev er som alltid takknemlig for hennes " +"evigvarende tålmodighet og kjærlighet." + +#~ msgid "" +#~ "David Pogue, \\\"Don't Just Chat, Do Something,\\\" New York Times, 30 " +#~ "January 2000." +#~ msgstr "" +#~ "David pogue, \\\"ikke bare chat, gjøre noe,\\\" new york times, 30 januar " +#~ "2000." + +#~ msgid "" +#~ "Pogue was skeptical of the core argument of the book--that software, or \\" +#~ "\"code,\\\" functioned as a kind of law--and his review suggested the " +#~ "happy thought that if life in cyberspace got bad, we could always \\" +#~ "\"drizzle, drazzle, druzzle, drome\\\"-like simply flip a switch and be " +#~ "back home. Turn off the modem, unplug the computer, and any troubles that " +#~ "exist in that space wouldn't \\\"affect\\\" us anymore." +#~ msgstr "" +#~ "Pogue var skeptisk til argumentet kjernen av boken--denne programvaren, " +#~ "eller \\\"kode\\\", som fungerte som et slags lov-- og sin anmeldelse " +#~ "foreslo lykkelig tanken at hvis livet i cyberspace fikk dårlig, vi kan " +#~ "alltid \\\"duskregn, drazzle, druzzle, drome\\\"-som bare snu en bryter " +#~ "og være hjem. Slå av modemet, koble fra datamaskinen, og eventuelle " +#~ "problemer som finnes i at plass ikke ville \\\"påvirke\\\" oss lenger." + +#~ msgid "" +#~ "Pogue might have been right in 1999--I'm skeptical, but maybe. But even " +#~ "if he was right then, the point is not right now: Free Culture is about " +#~ "the troubles the Internet causes even after the modem is turned off. It " +#~ "is an argument about how the battles that now rage regarding life on-line " +#~ "have fundamentally affected \\\"people who aren't online.\\\" There is no " +#~ "switch that will insulate us from the Internet's effect." +#~ msgstr "" +#~ "Pogue kan ha vært rett i 1999--jeg er skeptisk, men kanskje. men selv om " +#~ "han var høyre da, poenget er ikke akkurat nå: fri kultur er om trengsler " +#~ "Internett årsakene selv etter at modemet er slått av. den er et argument " +#~ "om hvordan slagene at nå rage om livet on-line har fundamentalt påvirket " +#~ "\\\"folk som er ikke pålogget.\\\" det er ingen bryter som vil isolere " +#~ "oss fra Internetts effekt." + +#~ msgid "" +#~ "If we understood this change, I believe we would resist it. Not \\\"we\\" +#~ "\" on the Left or \\\"you\\\" on the Right, but we who have no stake in " +#~ "the particular industries of culture that defined the twentieth century. " +#~ "Whether you are on the Left or the Right, if you are in this sense " +#~ "disinterested, then the story I tell here will trouble you. For the " +#~ "changes I describe affect values that both sides of our political culture " +#~ "deem fundamental." +#~ msgstr "" +#~ "Hvis vi forstått denne endringen, tror jeg vi ville motstå det. ikke \\" +#~ "\"vi\\\" til venstre eller \\\"du\\\" til høyre, men vi som har ingen " +#~ "eierandel i bestemt industri av kultur som definert av det tjuende " +#~ "århundre. enten du er på venstre eller høyre, hvis du er i denne forstand " +#~ "disinterested, vil historien jeg fortelle her problemer du. for at " +#~ "endringene beskrive jeg påvirker verdier som begge sider av vår politiske " +#~ "kultur anser grunnleggende." + +#~ msgid "" +#~ "We saw a glimpse of this bipartisan outrage in the early summer of 2003. " +#~ "As the FCC considered changes in media ownership rules that would relax " +#~ "limits on media concentration, an extraordinary coalition generated more " +#~ "than 700,000 letters to the FCC opposing the change. As William Safire " +#~ "described marching \\\"uncomfortably alongside CodePink Women for Peace " +#~ "and the National Rifle Association, between liberal Olympia Snowe and " +#~ "conservative Ted Stevens,\\\" he formulated perhaps most simply just what " +#~ "was at stake: the concentration of power. And as he asked," +#~ msgstr "" +#~ "Vi så et glimt av denne bipartisan voldshandling i forsommeren i 2003. " +#~ "som fcc betraktet endringer i media eierskap regler som vil slappe av " +#~ "begrensninger på media konsentrasjon, genereres en ekstraordinære " +#~ "koalisjon mer enn 700.000 brev til fcc motstridende endringen. som " +#~ "william safire beskrevet marsjerande \\\"ubehagelig sammen med codepink " +#~ "kvinner for fred og national rifle association, mellom liberale olympia " +#~ "snowe og Høyres ted stevens\\\", han formulerte kanskje mest bare " +#~ "rettferdig hva som var på spill: konsentrasjonen strøm. og så han spurte:" + +#~ msgid "" +#~ "William Safire, \\\"The Great Media Gulp,\\\" New York Times, 22 May 2003." +#~ msgstr "" +#~ "William safire, \\\"stor media svelge,\\\" mai new york times, 22 2003." + +#~ msgid "" +#~ "This idea is an element of the argument of Free Culture, though my focus " +#~ "is not just on the concentration of power produced by concentrations in " +#~ "ownership, but more importantly, if because less visibly, on the " +#~ "concentration of power produced by a radical change in the effective " +#~ "scope of the law. The law is changing; that change is altering the way " +#~ "our culture gets made; that change should worry you--whether or not you " +#~ "care about the Internet, and whether you're on Safire's left or on his " +#~ "right. The inspiration for the title and for much of the argument of " +#~ "this book comes from the work of Richard Stallman and the Free Software " +#~ "Foundation. Indeed, as I reread Stallman's own work, especially the " +#~ "essays in Free Software, Free Society, I realize that all of the " +#~ "theoretical insights I develop here are insights Stallman described " +#~ "decades ago. One could thus well argue that this work is \\\"merely\\\" " +#~ "derivative." +#~ msgstr "" +#~ "Denne ideen er et element i argumentet for fri kultur, men mitt fokus " +#~ "ikke er bare på konsentrasjonen av strøm produsert av konsentrasjoner i " +#~ "eierskap, men enda viktigere, hvis fordi mindre synlig på konsentrasjonen " +#~ "strøm produsert av en radikal endring i effektiv omfanget av loven. loven " +#~ "er endre; at endringen er å endre måten blir vår kultur gjort; Denne " +#~ "endringen bør bekymre oss du--om du bryr deg om Internett, og om du er på " +#~ "safire's venstre eller på hans høyre. inspirasjon til tittelen og for mye " +#~ "av argumentet i denne boken kommer fra arbeidet med richard stallman og " +#~ "free software foundation. faktisk, jeg reread Stallmans eget arbeid, " +#~ "spesielt essayene fri programvare, gratis samfunn, jeg skjønner at alle " +#~ "teoretiske innsikt jeg utvikler her er innsikt stallman beskrevet tiår " +#~ "siden. man kan dermed godt argumentere at dette arbeidet er \\\"bare\\\" " +#~ "avledede produkter." + +#~ msgid "" +#~ "In 1945, these questions became a federal case. When North Carolina " +#~ "farmers Thomas Lee and Tinie Causby started losing chickens because of " +#~ "low-flying military aircraft (the terrified chickens apparently flew into " +#~ "the barn walls and died), the Causbys filed a lawsuit saying that the " +#~ "government was trespassing on their land. The airplanes, of course, never " +#~ "touched the surface of the Causbys' land. But if, as Blackstone, Kent, " +#~ "and Coke had said, their land reached to \\\"an indefinite extent, " +#~ "upwards,\\\" then the government was trespassing on their property, and " +#~ "the Causbys wanted it to stop." +#~ msgstr "" +#~ "i 1945 ble disse spørsmålene en federal sak. Når Nord carolina bønder " +#~ "thomas lee og tinie causby begynte å miste kyllinger på grunn av lav-" +#~ "flying militære fly (vettskremt kyllinger tilsynelatende fløy i låven " +#~ "vegger og døde), causbys anlagt en sak som sier at regjeringen var adgang " +#~ "på deres land. fly, selvfølgelig, rørt aldri overflaten av causbys' land. " +#~ "men hvis som blackstone, kent, og cola hadde sagt, deres land nådd \\" +#~ "\"ubestemt grad, oppover,\\\" deretter regjeringen var adgang på deres " +#~ "eiendom, og causbys ønsket å stoppe." + +#~ msgid "" +#~ "The Supreme Court agreed to hear the Causbys' case. Congress had declared " +#~ "the airways public, but if one's property really extended to the heavens, " +#~ "then Congress's declaration could well have been an unconstitutional \\" +#~ "\"taking\\\" of property without compensation. The Court acknowledged " +#~ "that \\\"it is ancient doctrine that common law ownership of the land " +#~ "extended to the periphery of the universe.\\\" But Justice Douglas had no " +#~ "patience for ancient doctrine. In a single paragraph, hundreds of years " +#~ "of property law were erased. As he wrote for the Court," +#~ msgstr "" +#~ "Høyesterett enige om å høre causbys' tilfelle. Kongressen hadde erklært " +#~ "luftveiene offentlige, men hvis ens egenskapen virkelig utvidet til " +#~ "himmelen, deretter congress's erklæring kunne godt ha vært en " +#~ "unconstitutional \\\"tar\\\" av eiendom uten kompensasjon. hoffet " +#~ "erkjente at \\\"det er gamle doktrine som sedvanerett eierskap av landet " +#~ "utvidet til utkanten av universet.\\\", men rettferdighet douglas hadde " +#~ "ingen tålmodighet for gamle doktrine. i et enkelt avsnitt, ble hundrevis " +#~ "av år av opphavsrettslovgivningen slettet. som han skrev for hoffet," + +#~ msgid "\\\"Common sense revolts at the idea.\\\"" +#~ msgstr "sunn fornuft opprør på ideen." + +#~ msgid "" +#~ "This is how the law usually works. Not often this abruptly or " +#~ "impatiently, but eventually, this is how it works. It was Douglas's style " +#~ "not to dither. Other justices would have blathered on for pages to reach " +#~ "the conclusion that Douglas holds in a single line: \\\"Common sense " +#~ "revolts at the idea.\\\" But whether it takes pages or a few words, it is " +#~ "the special genius of a common law system, as ours is, that the law " +#~ "adjusts to the technologies of the time. And as it adjusts, it changes. " +#~ "Ideas that were as solid as rock in one age crumble in another." +#~ msgstr "" +#~ "Dette er hvordan loven fungerer vanligvis. ikke ofte dette brått eller " +#~ "impatiently, men til slutt, er dette hvordan det fungerer. Det var " +#~ "douglas's stil ikke å spre. andre justiariusene ville har blathered på " +#~ "for sider å trekke konklusjonen som douglas inneholder i en enkelt linje: " +#~ "\\\"sunn fornuft opprør idé.\\\", men om det tar sider eller et par ord, " +#~ "det er spesielle geni av et felles lov-system, som vår er at loven " +#~ "justerer til teknologier av tiden. og når den er justert, endres den. " +#~ "ideer som var så solid som rock i en alder crumble i et annet." + +#~ msgid "" +#~ "Or at least, this is how things happen when there's no one powerful on " +#~ "the other side of the change. The Causbys were just farmers. And though " +#~ "there were no doubt many like them who were upset by the growing traffic " +#~ "in the air (though one hopes not many chickens flew themselves into " +#~ "walls), the Causbys of the world would find it very hard to unite and " +#~ "stop the idea, and the technology, that the Wright brothers had birthed. " +#~ "The Wright brothers spat airplanes into the technological meme pool; the " +#~ "idea then spread like a virus in a chicken coop; farmers like the Causbys " +#~ "found themselves surrounded by \\\"what seemed reasonable\\\" given the " +#~ "technology that the Wrights had produced. They could stand on their " +#~ "farms, dead chickens in hand, and shake their fists at these newfangled " +#~ "technologies all they wanted. They could call their representatives or " +#~ "even file a lawsuit. But in the end, the force of what seems \\\"obvious\\" +#~ "\" to everyone else--the power of \\\"common sense\\\"--would prevail. " +#~ "Their \\\"private interest\\\" would not be allowed to defeat an obvious " +#~ "public gain." +#~ msgstr "" +#~ "eller minst, dette er hvordan ting skje når det finnes ikke en kraftig på " +#~ "den andre siden av endringen. causbys var bare bønder. og selv om det var " +#~ "ingen tvil om mange som dem som var lei av den voksende trafikk i luften " +#~ "(selv om en ikke håper mange høner fløy seg i vegger), causbys av verden " +#~ "vil være svært vanskelig å samle og stoppe ideen, og teknologien, wright-" +#~ "brødrene hadde birthed. wright-brødrene spyttet fly i teknologiske meme " +#~ "bassenget; ideen deretter spre seg som et virus i en kylling coop; bønder " +#~ "som causbys funnet seg selv omringet av \\\"hva syntes rimelig\\\" gitt " +#~ "teknologien som wrights hadde produsert. de kunne stå på sine gårder, " +#~ "dead kyllinger i hånden og riste deres fists på disse newfangled " +#~ "teknologiene alle de ønsket. de kunne ringe sine representanter eller " +#~ "selv fil en rettssak. men til slutt, styrken av hva synes \\\"klart\\\" " +#~ "for alle andre--makt \\\"sunn fornuft\\\"--ville råde. deres \\\"privat " +#~ "interesse\\\" ville ikke tillatt å beseire en klar offentlige fremgang." + +#~ msgid "" +#~ "On November 5, 1935, he demonstrated the technology at a meeting of the " +#~ "Institute of Radio Engineers at the Empire State Building in New York " +#~ "City. He tuned his radio dial across a range of AM stations, until the " +#~ "radio locked on a broadcast that he had arranged from seventeen miles " +#~ "away. The radio fell totally silent, as if dead, and then with a clarity " +#~ "no one else in that room had ever heard from an electrical device, it " +#~ "produced the sound of an announcer's voice: \\\"This is amateur station " +#~ "W2AG at Yonkers, New York, operating on frequency modulation at two and a " +#~ "half meters.\\\"" +#~ msgstr "" +#~ "på den 5 november 1935 demonstrerte han teknologi på et møte i institute " +#~ "of radio ingeniører på empire state building i new york city. Han stemte " +#~ "opp hans radio ringe på tvers av en rekke am stasjoner, til radioen låst " +#~ "på en kringkasting som han hadde ordnet fra sytten kilometer unna. " +#~ "radioen tiet helt, som om han er død, og deretter med en klarhet Ingen " +#~ "andre i det rommet hadde hørt fra en elektrisk utstyr, det produsert " +#~ "lyden av en hallomann stemme: \\\"Dette er amatør stasjon w2ag på " +#~ "yonkers, new york, opererer på frekvensmodulasjon to og en halv meter.\\\"" + +#~ msgid "" +#~ "RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " +#~ "Armstrong discover a way to remove static from AM radio. So Sarnoff was " +#~ "quite excited when Armstrong told him he had a device that removed static " +#~ "from \\\"radio.\\\" But when Armstrong demonstrated his invention, " +#~ "Sarnoff was not pleased." +#~ msgstr "" +#~ "rca's president, david sarnoff, en venn av Armstrongs, var ivrig etter at " +#~ "armstrong oppdager at en måte å fjerne statiske fra am radio. så sarnoff " +#~ "var ganske spent da armstrong fortalte ham at han hadde en enhet som " +#~ "fjernet statisk fra \\\"radio.\\\", men når armstrong demonstrerte hans " +#~ "oppfinnelse, var sarnoff ikke fornøyd." + +#~ msgid "" +#~ "We can glimpse a sense of this change by distinguishing between " +#~ "commercial and noncommercial culture, and by mapping the law's regulation " +#~ "of each. By \\\"commercial culture\\\" I mean that part of our culture " +#~ "that is produced and sold or produced to be sold. By \\\"noncommercial " +#~ "culture\\\" I mean all the rest. When old men sat around parks or on " +#~ "street corners telling stories that kids and others consumed, that was " +#~ "noncommercial culture. When Noah Webster published his \\\"Reader,\\\" or " +#~ "Joel Barlow his poetry, that was commercial culture." +#~ msgstr "" +#~ "Vi kan skimtes en følelse av denne endringen ved å skille mellom " +#~ "kommersielle og ikke-kommersiell kultur, og ved å tilordne lovens " +#~ "regulering av hver. \\\"kommersielle kultur\\\" mener jeg at en del av " +#~ "vår kultur som er produsert og solgt eller produsert for å bli solgt. \\" +#~ "\"ikke-kommersiell kultur\\\" mener jeg alle resten. Når gamle menn " +#~ "lørdag rundt parker eller på et gatehjørne fortelle historier som barn og " +#~ "andre forbrukes, som var ikke-kommersiell kultur. Når noah webster " +#~ "publisert sin \\\"reader\\\", eller joel barlow hans poesi, som var " +#~ "kommersielle kultur." + +#~ msgid "" +#~ "At the beginning of our history, and for just about the whole of our " +#~ "tradition, noncommercial culture was essentially unregulated. Of course, " +#~ "if your stories were lewd, or if your song disturbed the peace, then the " +#~ "law might intervene. But the law was never directly concerned with the " +#~ "creation or spread of this form of culture, and it left this culture \\" +#~ "\"free.\\\" The ordinary ways in which ordinary individuals shared and " +#~ "transformed their culture--telling stories, reenacting scenes from plays " +#~ "or TV, participating in fan clubs, sharing music, making tapes--were left " +#~ "alone by the law." +#~ msgstr "" +#~ "i begynnelsen av vår historie, og omtrent hele vår tradisjon ble ikke-" +#~ "kommersiell kultur i hovedsak unregulated. Selvfølgelig, kan hvis din " +#~ "historiene var utuktig, eller hvis din sang forstyrret freden, deretter " +#~ "loven gripe. men loven var aldri direkte opptatt med opprettelse eller " +#~ "spredning av denne formen for kultur, og det igjen denne kulturen \\" +#~ "\"gratis.\\\" det vanlige måter som vanlige enkeltpersoner delt og " +#~ "transformert deres kultur--fortelle historier, reenacting scener fra " +#~ "spiller eller tv, delta i fan klubber, deling av musikk, slik at " +#~ "kassetter--var igjen alene ved loven." + +#~ msgid "" +#~ "Amy Harmon, \\\"Black Hawk Download: Moving Beyond Music, Pirates Use New " +#~ "Tools to Turn the Net into an Illicit Video Club,\\\" New York Times, 17 " +#~ "January 2002." +#~ msgstr "" +#~ "Amy harmon, \\\"black hawk nedlasting: flytte utover musikk, pirater Bruk " +#~ "nye verktøy for å gjøre nettet til en illegale video klubb,\\\" new york " +#~ "times, 17 januar 2002." + +#~ msgid "" +#~ "If those really were the choices, then I would be with Jack Valenti and " +#~ "the content industry. I, too, am a believer in property, and especially " +#~ "in the importance of what Mr. Valenti nicely calls \\\"creative property." +#~ "\\\" I believe that \\\"piracy\\\" is wrong, and that the law, properly " +#~ "tuned, should punish \\\"piracy,\\\" whether on or off the Internet." +#~ msgstr "" +#~ "Hvis de var virkelig valgene, ville jeg være med jack valenti og innhold " +#~ "industrien. Jeg, også, er en troende i egenskapen, og særlig i " +#~ "betydningen av hva mr. valenti samtaler \\\"kreative egenskapen.\\\" Jeg " +#~ "tror at \\\"piratkopiering\\\" er galt, og at loven, riktig innstilt, " +#~ "skal straffe pent \\\"piratkopiering\\\", enten av eller på Internett." + +#~ msgid "" +#~ "But those simple beliefs mask a much more fundamental question and a much " +#~ "more dramatic change. My fear is that unless we come to see this change, " +#~ "the war to rid the world of Internet \\\"pirates\\\" will also rid our " +#~ "culture of values that have been integral to our tradition from the start." +#~ msgstr "" +#~ "men de enkle trosoppfatninger maskere et mye mer grunnleggende spørsmål " +#~ "og en mye mer dramatisk endring. min frykt er at med mindre vi kommer til " +#~ "å se denne endringen, krig for å befri verden av Internett \\\"pirater\\" +#~ "\" også kvitte vår kultur med verdier som er integrert til vår tradisjon " +#~ "fra starten." + +#~ msgid "" +#~ "Neil W. Netanel, \\\"Copyright and a Democratic Civil Society,\\\" Yale " +#~ "Law Journal 106 (1996): 283." +#~ msgstr "" +#~ "Neil w. netanel, \\\"copyright og en demokratisk sivile samfunn,\\\" yale " +#~ "law journal 106 (1996): 283." + +#~ msgid "" +#~ "The story that follows is about this war. Is it not about the \\" +#~ "\"centrality of technology\\\" to ordinary life. I don't believe in gods, " +#~ "digital or otherwise. Nor is it an effort to demonize any individual or " +#~ "group, for neither do I believe in a devil, corporate or otherwise. It is " +#~ "not a morality tale. Nor is it a call to jihad against an industry." +#~ msgstr "" +#~ "historien som følger handler om denne krigen. er det ikke om \\" +#~ "\"betydningen av teknologi\\\" vanlige liv. Jeg tror ikke på guder, " +#~ "digitale eller på annen måte. heller ikke er det et forsøk på å demonize " +#~ "enhver person eller gruppe, for heller ikke tror jeg på en djevel, " +#~ "corporate eller på annen måte. Det er ikke en moral-tale. heller ikke er " +#~ "det et kall til jihad mot en bransje." + +#~ msgid "" +#~ "Like the Causbys' battle, this war is, in part, about \\\"property.\\\" " +#~ "The property of this war is not as tangible as the Causbys', and no " +#~ "innocent chicken has yet to lose its life. Yet the ideas surrounding this " +#~ "\\\"property\\\" are as obvious to most as the Causbys' claim about the " +#~ "sacredness of their farm was to them. We are the Causbys. Most of us take " +#~ "for granted the extraordinarily powerful claims that the owners of \\" +#~ "\"intellectual property\\\" now assert. Most of us, like the Causbys, " +#~ "treat these claims as obvious. And hence we, like the Causbys, object " +#~ "when a new technology interferes with this property. It is as plain to us " +#~ "as it was to them that the new technologies of the Internet are \\" +#~ "\"trespassing\\\" upon legitimate claims of \\\"property.\\\" It is as " +#~ "plain to us as it was to them that the law should intervene to stop this " +#~ "trespass." +#~ msgstr "" +#~ "som causbys' kamp, denne krigen er delvis, om \\\"egenskapen.\\\" " +#~ "egenskapen av denne krigen er ikke så konkrete som causbys', og ingen " +#~ "uskyldige kylling har ennå å miste sitt liv. ennå er ideer rundt denne \\" +#~ "\"property\\\" så opplagt for de fleste som causbys' krav om sacredness " +#~ "av deres farm var å dem. Vi er causbys. de fleste av oss tar for gitt de " +#~ "usedvanlig kraftig kravene som eierne av \\\"intellectual property\\\" nå " +#~ "hevde. de fleste av oss, som causbys, behandle disse påstandene som " +#~ "åpenbart. og dermed vi, som causbys, objektet når en ny teknologi griper " +#~ "denne egenskapen. Det er så vanlig for oss som det var til dem at de nye " +#~ "teknologiene av Internett er \\\"adgang\\\" på legitime påstander om \\" +#~ "\"egenskapen.\\\" det er så vanlig for oss som det var til dem at loven " +#~ "bør intervenere for å stoppe denne trespass." + +#~ msgid "" +#~ "My hope is to push this common sense along. I have become increasingly " +#~ "amazed by the power of this idea of intellectual property and, more " +#~ "importantly, its power to disable critical thought by policy makers and " +#~ "citizens. There has never been a time in our history when more of our \\" +#~ "\"culture\\\" was as \\\"owned\\\" as it is now. And yet there has never " +#~ "been a time when the concentration of power to control the uses of " +#~ "culture has been as unquestioningly accepted as it is now." +#~ msgstr "" +#~ "mitt håp er å presse denne sunn fornuft. Jeg har blitt stadig overrasket " +#~ "av kraften i denne ideen av åndsverk, og enda viktigere, sin makt for å " +#~ "deaktivere kritisk tenkning av beslutningstakere og borgere. Det har " +#~ "aldri vært en gang i vår historie da flere av våre \\\"kultur\\\" var som " +#~ "\\\"eier\\\" som det er nå. og ennå har det aldri vært en tid når " +#~ "konsentrasjonen av makt til å kontrollere bruk av kultur er så " +#~ "unquestioningly godtatt som det er nå." + +#~ msgid "" +#~ "I don't mean to be mysterious. My own views are resolved. I believe it " +#~ "was right for common sense to revolt against the extremism of the " +#~ "Causbys. I believe it would be right for common sense to revolt against " +#~ "the extreme claims made today on behalf of \\\"intellectual property.\\\" " +#~ "What the law demands today is increasingly as silly as a sheriff " +#~ "arresting an airplane for trespass. But the consequences of this " +#~ "silliness will be much more profound." +#~ msgstr "" +#~ "Jeg trenger ikke bety å være mystisk. mine egne synspunkter er løst. Jeg " +#~ "tror det var riktig for sunn fornuft til å gjøre opprør mot ekstremisme " +#~ "av causbys. Jeg tror det vil være rett for sunn fornuft til å gjøre " +#~ "opprør mot ekstreme krav gjort i dag på vegne av \\\"intellektuelle " +#~ "eiendom.\\\" hva loven krever i dag er stadig like dumt som en sheriff " +#~ "arrestere et fly for trespass. men konsekvensene av dette dumhet vil være " +#~ "mye mer dyptgripende." + +#~ msgid "" +#~ "The struggle that rages just now centers on two ideas: \\\"piracy\\\" and " +#~ "\\\"property.\\\" My aim in this book's next two parts is to explore " +#~ "these two ideas." +#~ msgstr "" +#~ "kampen rages akkurat nå centers på to ideer: \\\"piratkopiering\\\" og \\" +#~ "\"egenskapen.\\\" mitt mål i denne boken neste to deler er å utforske " +#~ "disse to ideer." + +#~ msgid "" +#~ "The two sections set up the core claim of this book: that while the " +#~ "Internet has indeed produced something fantastic and new, our government, " +#~ "pushed by big media to respond to this \\\"something new,\\\" is " +#~ "destroying something very old. Rather than understanding the changes the " +#~ "Internet might permit, and rather than taking time to let \\\"common sense" +#~ "\\\" resolve how best to respond, we are allowing those most threatened " +#~ "by the changes to use their power to change the law--and more " +#~ "importantly, to use their power to change something fundamental about who " +#~ "we have always been." +#~ msgstr "" +#~ "de to delene satt opp kjernen krav i denne boken: som mens Internett har " +#~ "faktisk produsert noe fantastisk og nye, vår regjering, presset av store " +#~ "mediene til å svare på denne \\\"noe nytt,\\\" er ødelegge noe som er " +#~ "svært gammel. i stedet for å forstå endringene Internett kan tillate, og " +#~ "i stedet for å ta tid til å la \\\"sunn fornuft\\\" løse hvordan man best " +#~ "skal besvare, vi tillater de mest truet av endringene bruke sin makt til " +#~ "å endre loven-- og enda viktigere, å bruke sin makt til å endre noe " +#~ "grunnleggende om hvem vi har alltid vært." + +#~ msgid "\\\"PIRACY\\\"" +#~ msgstr "piratkopiering" + +#~ msgid "" +#~ "Since the inception of the law regulating creative property, there has " +#~ "been a war against \\\"piracy.\\\" The precise contours of this concept, " +#~ "\\\"piracy,\\\" are hard to sketch, but the animating injustice is easy " +#~ "to capture. As Lord Mansfield wrote in a case that extended the reach of " +#~ "English copyright law to include sheet music," +#~ msgstr "" +#~ "siden starten av loven som regulerer kreative egenskapen, har det vært en " +#~ "krig mot \\\"piratkopiering.\\\" presis konturene av dette konseptet \\" +#~ "\"piratkopiering\\\", er vanskelig å skissere, men animert urettferdighet " +#~ "er lett å fange. som Herren mansfield skrev i en sak som utvidet " +#~ "rekkevidden av engelsk lov om opphavsrett til å inkludere sheet music," + +#~ msgid "" +#~ "Today we are in the middle of another \\\"war\\\" against \\\"piracy.\\\" " +#~ "The Internet has provoked this war. The Internet makes possible the " +#~ "efficient spread of content. Peer-to-peer (p2p) file sharing is among the " +#~ "most efficient of the efficient technologies the Internet enables. Using " +#~ "distributed intelligence, p2p systems facilitate the easy spread of " +#~ "content in a way unimagined a generation ago." +#~ msgstr "" +#~ "i dag er vi midt i en annen \\\"krig\\\" mot \\\"piratkopiering.\\\" " +#~ "Internett har provosert denne krigen. Internett gjør mulig effektiv " +#~ "spredning av innhold. Peer-to-peer (p2p) fildeling er blant den mest " +#~ "effektive av effektiv teknologi gjør det mulig for Internett. ved hjelp " +#~ "av distributed intelligence, p2p systemer forenkle enkel spredning av " +#~ "innhold på en måte som unimagined en generasjon siden." + +#~ msgid "" +#~ "This efficiency does not respect the traditional lines of copyright. The " +#~ "network doesn't discriminate between the sharing of copyrighted and " +#~ "uncopyrighted content. Thus has there been a vast amount of sharing of " +#~ "copyrighted content. That sharing in turn has excited the war, as " +#~ "copyright owners fear the sharing will \\\"rob the author of the profit.\\" +#~ "\"" +#~ msgstr "" +#~ "Denne effektivitet respekterer ikke tradisjonelle linjene av opphavsrett. " +#~ "nettverket diskriminerer ikke mellom deling av opphavsrettsbeskyttet og " +#~ "uncopyrighted innhold. Dermed har det vært en enorm mengde deling av " +#~ "opphavsrettsbeskyttet innhold. at deling har i sin tur glade krigen som " +#~ "eiere av opphavsretter frykter deling vil \\\"rob forfatteren av " +#~ "overskuddet.\\\"" + +#~ msgid "" +#~ "The warriors have turned to the courts, to the legislatures, and " +#~ "increasingly to technology to defend their \\\"property\\\" against this " +#~ "\\\"piracy.\\\" A generation of Americans, the warriors warn, is being " +#~ "raised to believe that \\\"property\\\" should be \\\"free.\\\" Forget " +#~ "tattoos, never mind body piercing--our kids are becoming thieves!" +#~ msgstr "" +#~ "krigerne har slått til domstolene, til legislatures, og stadig til " +#~ "teknologi til å forsvare sine \\\"property\\\" mot denne \\" +#~ "\"piratkopiering.\\\" en generasjon amerikanere, warriors advare, er blir " +#~ "reist til å tro at \\\"property\\\" skal være \\\"gratis\\\" glem " +#~ "tatoveringer, never mind kroppspiercing--våre barn blir tyver!" + +#~ msgid "" +#~ "There's no doubt that \\\"piracy\\\" is wrong, and that pirates should be " +#~ "punished. But before we summon the executioners, we should put this " +#~ "notion of \\\"piracy\\\" in some context. For as the concept is " +#~ "increasingly used, at its core is an extraordinary idea that is almost " +#~ "certainly wrong." +#~ msgstr "" +#~ "Det er ingen tvil om at \\\"piratkopiering\\\" er galt, og at pirates bør " +#~ "bli straffet. men før vi gå til executioners, vi bør sette denne " +#~ "oppfatningen av \\\"piratkopiering\\\" i noen sammenheng. for som " +#~ "konseptet blir stadig mer brukt, er i sin kjerne en ekstraordinære idé " +#~ "som er nesten helt sikkert galt." + +#~ msgid "" +#~ "See Rochelle Dreyfuss, \\\"Expressive Genericity: Trademarks as Language " +#~ "in the Pepsi Generation,\\\" Notre Dame Law Review 65 (1990): 397." +#~ msgstr "" +#~ "se rochelle dreyfuss, \\\"uttrykksfulle genericity: varemerker som språk " +#~ "i pepsi-generasjon\\\" notre dame lov gå gjennom 65 (1990): 397." + +#~ msgid "" +#~ "This idea is certainly a possible understanding of how creative property " +#~ "should work. It might well be a possible design for a system of law " +#~ "protecting creative property. But the \\\"if value, then right\\\" theory " +#~ "of creative property has never been America's theory of creative " +#~ "property. It has never taken hold within our law." +#~ msgstr "" +#~ "Denne ideen er absolutt en mulig forståelse av hvordan kreative " +#~ "egenskapen skal fungere. Det kan godt være en mulig design for et system " +#~ "av loven beskytte creative-egenskapen. men den \\\"Hvis verdien, deretter " +#~ "høyre\\\" teori av creative-egenskapen har aldri vært america's teori om " +#~ "kreative-egenskapen. Det har aldri tatt tak i vår lov." + +#~ msgid "" +#~ "These burdens make no sense in our tradition. We should begin by " +#~ "understanding that tradition a bit more and by placing in their proper " +#~ "context the current battles about behavior labeled \\\"piracy.\\\"" +#~ msgstr "" +#~ "disse byrder gir ingen mening i vår tradisjon. Vi bør begynne ved å " +#~ "forstå denne tradisjonen litt mer, og ved å plassere i sin rette " +#~ "sammenheng gjeldende slagene om virkemåten merket \\\"piratkopiering\\\"." + +#~ msgid "" +#~ "Disney's then partner, and one of animation's most extraordinary talents, " +#~ "Ub Iwerks, put it more strongly: \\\"I have never been so thrilled in my " +#~ "life. Nothing since has ever equaled it.\\\"" +#~ msgstr "" +#~ "Disney's deretter partner, og en av animasjons mest ekstraordinære " +#~ "talenter, ub iwerks, sette det mer sterkt: \\\"Jeg har aldri vært så " +#~ "begeistret i mitt liv. ingenting siden har noensinne equaled den.\\\"" + +#~ msgid "" +#~ "This is a kind of creativity. It is a creativity that we should remember " +#~ "and celebrate. There are some who would say that there is no creativity " +#~ "except this kind. We don't need to go that far to recognize its " +#~ "importance. We could call this \\\"Disney creativity,\\\" though that " +#~ "would be a bit misleading. It is, more precisely, \\\"Walt Disney " +#~ "creativity\\\"--a form of expression and genius that builds upon the " +#~ "culture around us and makes it something different." +#~ msgstr "" +#~ "Dette er en slags kreativitet. Det er en kreativitet som vi bør huske og " +#~ "feire. Det er noen som vil si at det er ingen kreativitet bortsett fra " +#~ "denne typen. Vi trenger ikke å gå så langt å anerkjenne sin betydning. Vi " +#~ "kan kalle denne \\\"disney kreativitet,\\\" selv om det ville være litt " +#~ "misvisende. Det er mer presist, \\\"walt disney kreativitet\\\"--en form " +#~ "for uttrykk og geni som bygger på kultur rundt oss, og som gjør det noe " +#~ "annet." + +#~ msgid "" +#~ "At the end of a copyright term, a work passes into the public domain. No " +#~ "permission is then needed to draw upon or use that work. No permission " +#~ "and, hence, no lawyers. The public domain is a \\\"lawyer-free zone.\\\" " +#~ "Thus, most of the content from the nineteenth century was free for Disney " +#~ "to use and build upon in 1928. It was free for anyone-- whether connected " +#~ "or not, whether rich or not, whether approved or not--to use and build " +#~ "upon." +#~ msgstr "" +#~ "på slutten av en opphavsrett sikt sender et arbeid i public domain. Ingen " +#~ "tillatelse kreves for deretter å trekke på, eller bruke som fungerer. " +#~ "Ingen tillatelse og derfor ingen jurister. public domain er en \\" +#~ "\"advokat-free zone.\\\" dermed, det meste av innholdet fra det nittende " +#~ "århundre var gratis for disney du bruker, og bygger på i 1928. Det var " +#~ "gratis for alle--enten tilkoblet eller ikke, om det er rik eller ikke, om " +#~ "godkjente eller ikke--hvis du vil bruke, og bygge på." + +#~ msgid "" +#~ "Of course, Walt Disney had no monopoly on \\\"Walt Disney creativity.\\\" " +#~ "Nor does America. The norm of free culture has, until recently, and " +#~ "except within totalitarian nations, been broadly exploited and quite " +#~ "universal." +#~ msgstr "" +#~ "Selvfølgelig, walt disney hadde ingen monopol på \\\"walt disney " +#~ "kreativitet.\\\" heller ikke Amerika. norm for fri kultur har, inntil " +#~ "nylig, og unntatt i totalitære nasjoner, vært forstand utnyttede og " +#~ "ganske universell." + +#~ msgid "" +#~ "Americans tend to look down upon this form of culture. That's an " +#~ "unattractive characteristic of ours. We're likely to misunderstand much " +#~ "about manga, because few of us have ever read anything close to the " +#~ "stories that these \\\"graphic novels\\\" tell. For the Japanese, manga " +#~ "cover every aspect of social life. For us, comics are \\\"men in tights.\\" +#~ "\" And anyway, it's not as if the New York subways are filled with " +#~ "readers of Joyce or even Hemingway. People of different cultures distract " +#~ "themselves in different ways, the Japanese in this interestingly " +#~ "different way." +#~ msgstr "" +#~ "Amerikanerne har en tendens til å se på denne formen for kultur. Det er " +#~ "en unattractive kjennetegnet av våre. vi sannsynligvis misforstå mye om " +#~ "manga, fordi få av oss noensinne har lest noe nær historiene som disse \\" +#~ "\"grafiske romaner\\\" fortelle. for japansk, manga dekker alle aspekter " +#~ "av sosiale liv. tegneserier er \\\"menn i strømpebukse.\\\" for oss, og " +#~ "likevel, det er ikke som hvis new york-bane er fylt med leserne av joyce " +#~ "eller selv hemingway. mennesker av ulike kulturer distrahere seg på " +#~ "forskjellige måter, japanske på dette interessant annen måte." + +#~ msgid "" +#~ "This is the phenomenon of doujinshi. Doujinshi are also comics, but they " +#~ "are a kind of copycat comic. A rich ethic governs the creation of " +#~ "doujinshi. It is not doujinshi if it is just a copy; the artist must make " +#~ "a contribution to the art he copies, by transforming it either subtly or " +#~ "significantly. A doujinshi comic can thus take a mainstream comic and " +#~ "develop it differently--with a different story line. Or the comic can " +#~ "keep the character in character but change its look slightly. There is no " +#~ "formula for what makes the doujinshi sufficiently \\\"different.\\\" But " +#~ "they must be different if they are to be considered true doujinshi. " +#~ "Indeed, there are committees that review doujinshi for inclusion within " +#~ "shows and reject any copycat comic that is merely a copy." +#~ msgstr "" +#~ "Dette er fenomenet doujinshi. doujinshi er også tegneserier, men de er en " +#~ "slags copycat tegneserie. en rik ethic styrer opprettingen av doujinshi. " +#~ "Det er ikke doujinshi Hvis det er bare en kopi; kunstneren må gi et " +#~ "bidrag til kunst som han overfører, gjøre det subtly eller betydelig. en " +#~ "doujinshi tegneserie kan dermed ta en mainstream tegneserie og utvikle " +#~ "den annerledes--med en annen historie-linje. eller tegneserier kan holde " +#~ "tegnet i karakter, men endre sitt utseende litt. Det er ingen formel for " +#~ "det som gjør doujinshi tilstrekkelig \\\"annerledes.\\\", men de må være " +#~ "forskjellige hvis de skal anses som sann doujinshi. Det er faktisk " +#~ "komiteer som gjennomgå doujinshi for inkludering i viser og avvise enhver " +#~ "copycat tegneserie som er bare en kopi." + +#~ msgid "" +#~ "These copycat comics are not a tiny part of the manga market. They are " +#~ "huge. More than 33,000 \\\"circles\\\" of creators from across Japan " +#~ "produce these bits of Walt Disney creativity. More than 450,000 Japanese " +#~ "come together twice a year, in the largest public gathering in the " +#~ "country, to exchange and sell them. This market exists in parallel to the " +#~ "mainstream commercial manga market. In some ways, it obviously competes " +#~ "with that market, but there is no sustained effort by those who control " +#~ "the commercial manga market to shut the doujinshi market down. It " +#~ "flourishes, despite the competition and despite the law." +#~ msgstr "" +#~ "disse copycat tegneseriene er ikke en liten del av manga-markedet. de er " +#~ "enorm. mer enn 33.000 \\\"sirkler\\\" av skaperne fra tvers japan " +#~ "produsere disse biter av walt disney kreativitet. mer enn 450.000 japansk " +#~ "komme sammen to ganger i året, i den største offentlig sammenkomst i " +#~ "landet, å bytte og selge dem. Dette markedet finnes i parallell til det " +#~ "mainstream kommersielle manga-markedet. det åpenbart konkurrerer med " +#~ "dette markedet på noen måter, men det er ingen vedvarende innsats av de " +#~ "som styrer kommersielle manga-markedet for å stenge doujinshi markedet. " +#~ "den blomstrer, til tross for konkurransen og til tross for loven." + +#~ msgid "" +#~ "The most puzzling feature of the doujinshi market, for those trained in " +#~ "the law, at least, is that it is allowed to exist at all. Under Japanese " +#~ "copyright law, which in this respect (on paper) mirrors American " +#~ "copyright law, the doujinshi market is an illegal one. Doujinshi are " +#~ "plainly \\\"derivative works.\\\" There is no general practice by " +#~ "doujinshi artists of securing the permission of the manga creators. " +#~ "Instead, the practice is simply to take and modify the creations of " +#~ "others, as Walt Disney did with Steamboat Bill, Jr. Under both Japanese " +#~ "and American law, that \\\"taking\\\" without the permission of the " +#~ "original copyright owner is illegal. It is an infringement of the " +#~ "original copyright to make a copy or a derivative work without the " +#~ "original copyright owner's permission." +#~ msgstr "" +#~ "funksjonen mest underlige i doujinshi markedet, for de jurist, minst, er " +#~ "at det er tillatt å eksistere i det hele tatt. under japansk lov om " +#~ "opphavsrett, som i denne forbindelse (på papiret) gjenspeiler amerikansk " +#~ "lov om opphavsrett, er doujinshi markedet en ulovlig. doujinshi er " +#~ "tydelig \\\"avledede works.\\\" det er ingen generell fremgangsmåte ved " +#~ "doujinshi artister for å sikre tillatelse fra skaperne manga. i stedet, " +#~ "øvelsen er ganske enkelt å ta og endre kreasjoner av andre, som walt " +#~ "disney gjorde med steamboat bill, jr. under både japanske og amerikanske " +#~ "loven, det \\\"tar\\\" uten tillatelse fra eieren av opprinnelige " +#~ "opphavsretten er ulovlig. Det er en krenkelse av opprinnelige " +#~ "opphavsretten til å lage en kopi eller et avledet arbeid uten den " +#~ "opphavspersonens tillatelse." + +#~ msgid "" +#~ "American comics now are quite different, Winick explains, in part because " +#~ "of the legal difficulty of adapting comics the way doujinshi are allowed. " +#~ "Speaking of Superman, Winick told me, \\\"there are these rules and you " +#~ "have to stick to them.\\\" There are things Superman \\\"cannot\\\" do. \\" +#~ "\"As a creator, it's frustrating having to stick to some parameters which " +#~ "are fifty years old.\\\"" +#~ msgstr "" +#~ "amerikanske tegneserier nå er helt forskjellige, winick forklarer, delvis " +#~ "på grunn av juridiske vanskelighetene med å tilpasse tegneserier måte " +#~ "doujinshi er tillatt. Speaking of superman, winick fortalte meg, \\\"det " +#~ "er disse reglene og du har å holde oss til dem\\\" det er ting superman \\" +#~ "\"ikke\\\" gjøre. \\\"som en creator, det er frustrerende måtte holde oss " +#~ "til noen parametere som er femti år.\\\"" + +#~ msgid "" +#~ "See Salil K. Mehra, \\\"Copyright and Comics in Japan: Does Law Explain " +#~ "Why All the Comics My Kid Watches Are Japanese Imports?\\\" Rutgers Law " +#~ "Review 55 (2002): 155, 182. \\\"[T]here might be a collective economic " +#~ "rationality that would lead manga and anime artists to forgo bringing " +#~ "legal actions for infringement. One hypothesis is that all manga artists " +#~ "may be better off collectively if they set aside their individual self-" +#~ "interest and decide not to press their legal rights. This is essentially " +#~ "a prisoner's dilemma solved.\\\"" +#~ msgstr "" +#~ "se salil k. mehra, \\\"copyright og tegneserier i japan: gjør loven " +#~ "forklare hvorfor alle tegneseriene min gutt klokker er japanske import?\\" +#~ "\" rutgers lov gå gjennom 55 (2002): 155, 182. \\\"[t] her kan være en " +#~ "kollektiv økonomiske rasjonalitet som ville føre manga og anime kunstnere " +#~ "til å forgo bringe juridiske handlinger for krenkelse. én hypotese er at " +#~ "alle manga kunstnere kan være bedre samlet hvis de satt deres " +#~ "individuelle egeninteresse og bestemmer deg for ikke å trykke sine " +#~ "juridiske rettigheter. Dette er egentlig en fangens dilemma løst.\\\"" + +#~ msgid "" +#~ "The problem with this story, however, as Mehra plainly acknowledges, is " +#~ "that the mechanism producing this laissez faire response is not clear. It " +#~ "may well be that the market as a whole is better off if doujinshi are " +#~ "permitted rather than banned, but that doesn't explain why individual " +#~ "copyright owners don't sue nonetheless. If the law has no general " +#~ "exception for doujinshi, and indeed in some cases individual manga " +#~ "artists have sued doujinshi artists, why is there not a more general " +#~ "pattern of blocking this \\\"free taking\\\" by the doujinshi culture?" +#~ msgstr "" +#~ "problemet med denne historien, men er som mehra erkjenner tydelig, at " +#~ "mekanismen produsere dette laissez faire svaret ikke er klart. Det kan " +#~ "godt være at markedet som helhet er bedre om doujinshi er tillatt stedet " +#~ "utestengt, men som ikke forklare hvorfor enkelte opphavsrett eiere ikke " +#~ "saksøke likevel. Hvis loven har ingen generelle unntak for doujinshi og " +#~ "faktisk i noen tilfeller individuelle manga kunstnere har saksøkte " +#~ "doujinshi artister, hvorfor er det ikke en mer generell mønster av " +#~ "blokkerer denne \\\"gratis tar\\\" av doujinshi kultur?" + +#~ msgid "" +#~ "I spent four wonderful months in Japan, and I asked this question as " +#~ "often as I could. Perhaps the best account in the end was offered by a " +#~ "friend from a major Japanese law firm. \\\"We don't have enough lawyers,\\" +#~ "\" he told me one afternoon. There \\\"just aren't enough resources to " +#~ "prosecute cases like this.\\\"" +#~ msgstr "" +#~ "Jeg tilbrakte fire fantastiske måneder i japan, og jeg spurt dette " +#~ "spørsmålet så ofte som jeg kunne. kanskje ble den beste kontoen til slutt " +#~ "tilbudt av en venn fra en større japansk advokatfirma. \\\"vi ikke har " +#~ "nok advokater,\\\" han fortalte meg en ettermiddag. det \\\"bare ikke er " +#~ "nok ressurser til å tiltale tilfeller som dette.\\\"" + +#~ msgid "" +#~ "The term intellectual property is of relatively recent origin. See Siva " +#~ "Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York " +#~ "University Press, 2001). See also Lawrence Lessig, The Future of Ideas " +#~ "(New York: Random House, 2001), 293 n. 26. The term accurately describes " +#~ "a set of \\\"property\\\" rights--copyright, patents, trademark, and " +#~ "trade-secret--but the nature of those rights is very different." +#~ msgstr "" +#~ "begrepet immaterielle er relativt nylige opprinnelsesland. se siva " +#~ "vaidhyanathan, opphavsrett og copywrongs, 11 (new york: new york " +#~ "university press, 2001). Se også lawrence lessig, fremtiden for ideer " +#~ "(new york: random house, 2001), 293 n. 26. begrepet beskriver nøyaktig et " +#~ "sett med rettigheter for \\\"eiendom\\\"--opphavsrett, patenter, " +#~ "varemerker, og forretningshemmeligheter-- men innholdet av disse " +#~ "rettighetene er svært forskjellige." + +#~ msgid "" +#~ "But it takes just a second's reflection to realize that there is plenty " +#~ "of value out there that \\\"property\\\" doesn't capture. I don't mean \\" +#~ "\"money can't buy you love,\\\" but rather, value that is plainly part of " +#~ "a process of production, including commercial as well as noncommercial " +#~ "production. If Disney animators had stolen a set of pencils to draw " +#~ "Steamboat Willie, we'd have no hesitation in condemning that taking as " +#~ "wrong-- even though trivial, even if unnoticed. Yet there was nothing " +#~ "wrong, at least under the law of the day, with Disney's taking from " +#~ "Buster Keaton or from the Brothers Grimm. There was nothing wrong with " +#~ "the taking from Keaton because Disney's use would have been considered \\" +#~ "\"fair.\\\" There was nothing wrong with the taking from the Grimms " +#~ "because the Grimms' work was in the public domain." +#~ msgstr "" +#~ "men det tar bare et sekund refleksjon for å innse at det er rikelig med " +#~ "verdi der ute som \\\"property\\\" ikke fange. Jeg trenger ikke bety \\" +#~ "\"penger kan ikke kjøpe deg kjærlighet,\\\" men snarere verdi som tydelig " +#~ "er en del av en prosess av produksjon, inkludert kommersielle samt ikke-" +#~ "kommersiell produksjon. Hvis disney animatører hadde stjålet et sett med " +#~ "blyanter å trekke steamboat willie, ville vi har ingen nøle med å " +#~ "fordømme det tar så galt - selv om det er triviell, selv om ubemerket. " +#~ "men det var ikke noe galt, minst under loven av dagen, med disney's å ta " +#~ "fra buster keaton eller fra the Sunday. Det var noe galt med å ta fra " +#~ "keaton fordi disney's bruk ville ha blitt vurdert \\\"fair.\\\" det ikke " +#~ "var noe galt med å ta fra grimms fordi grimms' arbeid var i den " +#~ "offentlige sfæren." + +#~ msgid "" +#~ "Yet there is an obvious reluctance, even among Japanese lawyers, to say " +#~ "that the copycat comic artists are \\\"stealing.\\\" This form of Walt " +#~ "Disney creativity is seen as fair and right, even if lawyers in " +#~ "particular find it hard to say why." +#~ msgstr "" +#~ "Likevel er det en åpenbar uvilje mot, selv blant japanske advokater, for " +#~ "å si at copycat comic kunstnerne er \\\"stjele.\\\" denne formen for walt " +#~ "disney kreativitet er sett på som rettferdig og høyre, selv om advokater " +#~ "spesielt finner det vanskelig å si hvorfor." + +#~ msgid "" +#~ "It's the same with a thousand examples that appear everywhere once you " +#~ "begin to look. Scientists build upon the work of other scientists without " +#~ "asking or paying for the privilege. (\\\"Excuse me, Professor Einstein, " +#~ "but may I have permission to use your theory of relativity to show that " +#~ "you were wrong about quantum physics?\\\") Acting companies perform " +#~ "adaptations of the works of Shakespeare without securing permission from " +#~ "anyone. (Does anyone believe Shakespeare would be better spread within " +#~ "our culture if there were a central Shakespeare rights clearinghouse that " +#~ "all productions of Shakespeare must appeal to first?) And Hollywood goes " +#~ "through cycles with a certain kind of movie: five asteroid films in the " +#~ "late 1990s; two volcano disaster films in 1997." +#~ msgstr "" +#~ "Det er det samme med tusen eksempler som vises overalt når du begynner å " +#~ "se. forskere bygge på arbeidet til andre forskere uten å be om eller " +#~ "betale for privilegiet. (\\\"Unnskyld meg, professor einstein, men " +#~ "kanskje jeg har tillatelse til å bruke ditt Relativitetsteorien for å " +#~ "vise at du var galt om quantum fysikk?\\\") fungerende virksomheter " +#~ "utfører bearbeidelser av verk av shakespeare uten sikring tillatelse fra " +#~ "noen. (mener noen shakespeare ville være bedre spredt i vår kultur Hvis " +#~ "det var en sentral shakespeare rettigheter clearinghouse som alle " +#~ "produksjoner Shakespeare må appellere til første?) og hollywood går " +#~ "gjennom sykluser med en bestemt type film: fem asteroider filmer inne det " +#~ "sen 1990s; to vulkanen katastrofe filmer i 1997." + +#~ msgid "" +#~ "The hard question is therefore not whether a culture is free. All " +#~ "cultures are free to some degree. The hard question instead is \\\"How " +#~ "free is this culture?\\\" How much, and how broadly, is the culture free " +#~ "for others to take and build upon? Is that freedom limited to party " +#~ "members? To members of the royal family? To the top ten corporations on " +#~ "the New York Stock Exchange? Or is that freedom spread broadly? To " +#~ "artists generally, whether affiliated with the Met or not? To musicians " +#~ "generally, whether white or not? To filmmakers generally, whether " +#~ "affiliated with a studio or not?" +#~ msgstr "" +#~ "Det vanskelige spørsmålet er derfor ikke om en kultur er gratis. alle " +#~ "kulturer er gratis til en viss grad. Det vanskelige spørsmålet i stedet " +#~ "er \\\"hvordan gratis er denne kulturen?\\\" hvor mye og hvordan " +#~ "forstand, er kultur som er gratis for andre å ta, og bygge på? er den " +#~ "friheten begrenset til partiets medlemmer? til medlemmer av " +#~ "kongefamilien? til topp ti selskaper på new york stock exchange? eller er " +#~ "at frihet spredt bredt? til kunstnere vanligvis enten tilknyttet av the " +#~ "met eller ikke? til musikere vanligvis om hvit eller ikke? til " +#~ "filmskapere vanligvis enten tilknyttet et studio eller ikke?" + +#~ msgid "CHAPTER TWO: \\\"Mere Copyists\\\"" +#~ msgstr "Kapittel to: \\\"kun copyists\\\"" + +#~ msgid "" +#~ "In 1839, Louis Daguerre invented the first practical technology for " +#~ "producing what we would call \\\"photographs.\\\" Appropriately enough, " +#~ "they were called \\\"daguerreotypes.\\\" The process was complicated and " +#~ "expensive, and the field was thus limited to professionals and a few " +#~ "zealous and wealthy amateurs. (There was even an American Daguerre " +#~ "Association that helped regulate the industry, as do all such " +#~ "associations, by keeping competition down so as to keep prices up.)" +#~ msgstr "" +#~ "i 1839, louis daguerre oppfant den første praktiske teknologien for å " +#~ "produsere det vi vil kalle \\\"fotografier.\\\" riktig nok, de ble kalt \\" +#~ "\"daguerreotypes.\\\" prosessen var komplisert og kostbart, og feltet var " +#~ "dermed begrenset til profesjonelle og noen ivrige og velstående amatører. " +#~ "(det var enda en amerikansk daguerre tilknytning som hjalp regulere " +#~ "bransjen, som gjør alle slike tilknytninger, ved å holde konkurranse å " +#~ "holde prisene.)" + +#~ msgid "" +#~ "Yet despite high prices, the demand for daguerreotypes was strong. This " +#~ "pushed inventors to find simpler and cheaper ways to make \\\"automatic " +#~ "pictures.\\\" William Talbot soon discovered a process for making \\" +#~ "\"negatives.\\\" But because the negatives were glass, and had to be kept " +#~ "wet, the process still remained expensive and cumbersome. In the 1870s, " +#~ "dry plates were developed, making it easier to separate the taking of a " +#~ "picture from its developing. These were still plates of glass, and thus " +#~ "it was still not a process within reach of most amateurs." +#~ msgstr "" +#~ "likevel til tross for høye priser var etterspørselen etter daguerreotypes " +#~ "sterk. Dette presset oppfinnere å finne enklere og billigere måter å " +#~ "gjøre \\\"automatisk bilder.\\\" william talbot snart oppdaget en prosess " +#~ "for å gjøre \\\"negativer.\\\", men fordi negativene var glass, og måtte " +#~ "holdes våt, prosessen forsatt dyre og tunge. i 1870, ble tørr platene " +#~ "utviklet, gjør det enklere å skille å ta på et bilde fra sin utvikling. " +#~ "disse var fortsatt plater av glass, og dermed det var likevel ikke en " +#~ "prosess innenfor rekkevidde de fleste amatører." + +#~ msgid "" +#~ "In this way, the Kodak camera and film were technologies of expression. " +#~ "The pencil or paintbrush was also a technology of expression, of course. " +#~ "But it took years of training before they could be deployed by amateurs " +#~ "in any useful or effective way. With the Kodak, expression was possible " +#~ "much sooner and more simply. The barrier to expression was lowered. Snobs " +#~ "would sneer at its \\\"quality\\\"; professionals would discount it as " +#~ "irrelevant. But watch a child study how best to frame a picture and you " +#~ "get a sense of the experience of creativity that the Kodak enabled. " +#~ "Democratic tools gave ordinary people a way to express themselves more " +#~ "easily than any tools could have before." +#~ msgstr "" +#~ "på denne måten var kodak-kamera og film teknologier uttrykksmåter. blyant " +#~ "eller paintbrush var også en teknologi uttrykksmåter, selvfølgelig. men " +#~ "det tok år med trening før de kan distribueres av amatører på noen " +#~ "nyttige eller effektiv måte. med kodak var uttrykk mulig mye raskere og " +#~ "enklere. barriere til uttrykk ble senket. snobs ville hånlig flir på sin " +#~ "\\\"kvalitet\\\"; profesjonelle ville rabatt det som irrelevant. Men se " +#~ "et barn studere hvordan du best som ramme for et bilde, og du får en " +#~ "følelse av opplevelsen av kreativitet som kodak aktivert. demokratiske " +#~ "verktøy ga vanlige folk en måte å uttrykke seg lettere enn noen verktøy " +#~ "kan har før." + +#~ msgid "" +#~ "The arguments in favor of requiring permission will sound surprisingly " +#~ "familiar. The photographer was \\\"taking\\\" something from the person " +#~ "or building whose photograph he shot--pirating something of value. Some " +#~ "even thought he was taking the target's soul. Just as Disney was not free " +#~ "to take the pencils that his animators used to draw Mickey, so, too, " +#~ "should these photographers not be free to take images that they thought " +#~ "valuable." +#~ msgstr "" +#~ "argumenter for å trenge tillatelse vil lyde overraskende kjent. " +#~ "fotografen ble \\\"tar\\\" noe fra personen eller bygge med fotografi han " +#~ "skjøt--pirating noe av verdi. noen trodde selv han tok målets sjel. " +#~ "akkurat som disney ikke var fritt til å ta den blyanter hans animatører " +#~ "brukes til å tegne mickey, så bør også, disse fotografer ikke være fritt " +#~ "til å ta bilder som de trodde verdifull." + +#~ msgid "" +#~ "Samuel D. Warren and Louis D. Brandeis, \\\"The Right to Privacy,\\\" " +#~ "Harvard Law Review 4 (1890): 193." +#~ msgstr "" +#~ "Samuel d. warren og louis d. brandeis, \\\"rett til personvern,\\\" " +#~ "harvard law gå gjennom 4 (1890): 193." + +#~ msgid "" +#~ "We can only speculate about how photography would have developed had the " +#~ "law gone the other way. If the presumption had been against the " +#~ "photographer, then the photographer would have had to demonstrate " +#~ "permission. Perhaps Eastman Kodak would have had to demonstrate " +#~ "permission, too, before it developed the film upon which images were " +#~ "captured. After all, if permission were not granted, then Eastman Kodak " +#~ "would be benefiting from the \\\"theft\\\" committed by the photographer. " +#~ "Just as Napster benefited from the copyright infringements committed by " +#~ "Napster users, Kodak would be benefiting from the \\\"image-right\\\" " +#~ "infringement of its photographers. We could imagine the law then " +#~ "requiring that some form of permission be demonstrated before a company " +#~ "developed pictures. We could imagine a system developing to demonstrate " +#~ "that permission." +#~ msgstr "" +#~ "Vi kan bare spekulere om hvordan fotografering ville ha utviklet seg " +#~ "hadde loven gått den andre veien. Hvis antagelse hadde vært mot " +#~ "fotografen, ville deretter fotografen ha hatt å demonstrere tillatelse. " +#~ "kanskje eastman kodak ville ha hatt å demonstrere tillatelse, også, før " +#~ "det utviklet filmen som bildene ble tatt. tross alt, hvis du ikke var har " +#~ "tillatelse, deretter eastman kodak ville være nytte mot \\\"tyveri\\\" " +#~ "begått av fotografen. like napster avtatt opphavsrett infringements " +#~ "begått av brukere for napster, ville kodak være nytte fra \\\"bildet til " +#~ "høyre\\\" krenkelse av sine fotografer. Vi kunne tenke loven og som " +#~ "krever at noen form for tillatelse bli vist før et selskap utviklet " +#~ "bilder. Vi kunne forestille seg et system å utvikle for å demonstrere " +#~ "tillatelsen." + +#~ msgid "" +#~ "But though we could imagine this system of permission, it would be very " +#~ "hard to see how photography could have flourished as it did if the " +#~ "requirement for permission had been built into the rules that govern it. " +#~ "Photography would have existed. It would have grown in importance over " +#~ "time. Professionals would have continued to use the technology as they " +#~ "did--since professionals could have more easily borne the burdens of the " +#~ "permission system. But the spread of photography to ordinary people would " +#~ "not have occurred. Nothing like that growth would have been realized. And " +#~ "certainly, nothing like that growth in a democratic technology of " +#~ "expression would have been realized. If you drive through San " +#~ "Francisco's Presidio, you might see two gaudy yellow school buses painted " +#~ "over with colorful and striking images, and the logo \\\"Just Think!\\\" " +#~ "in place of the name of a school. But there's little that's \\\"just\\\" " +#~ "cerebral in the projects that these busses enable. These buses are " +#~ "filled with technologies that teach kids to tinker with film. Not the " +#~ "film of Eastman. Not even the film of your VCR. Rather the \\\"film\\\" " +#~ "of digital cameras. Just Think! is a project that enables kids to make " +#~ "films, as a way to understand and critique the filmed culture that they " +#~ "find all around them. Each year, these busses travel to more than thirty " +#~ "schools and enable three hundred to five hundred children to learn " +#~ "something about media by doing something with media. By doing, they " +#~ "think. By tinkering, they learn." +#~ msgstr "" +#~ "men selv om vi kunne tenke seg dette systemet av tillatelse, det ville " +#~ "være svært vanskelig å se hvordan fotografering kunne ha blomstret som " +#~ "det gjorde Hvis kravet om tillatelse hadde blitt bygget inn i reglene som " +#~ "styrer det. fotografering ville har eksistert. det ville ha vokst " +#~ "betydning over tid. profesjonelle ville har fortsatt å bruke teknologi " +#~ "som de gjorde--siden fagfolk kan lettere båret byrdene av tillatelse-" +#~ "systemet. Men spredning av fotografering til vanlige folk ville ikke ha " +#~ "skjedd. ingenting som at veksten ville har blitt realisert. og Ja, " +#~ "ingenting som at veksten i en demokratisk teknologi uttrykksmåter ville " +#~ "har blitt realisert. Hvis du kjører gjennom san Franciscos presidio, kan " +#~ "du se to glorete gule skolebusser malt over med fargerike og flotte " +#~ "bilder og logoen \\\"Tenk!\\\" i stedet for navnet på en skole. men det " +#~ "er lite som er \\\"bare\\\" hjerne i prosjekter som gjør at disse busser. " +#~ "disse busser er fylt med teknologier som underviser barna å tinker med " +#~ "film. ikke filmen av eastman. ikke engang filmen av videospilleren. " +#~ "snarere den \\\"film\\\" av digitale kameraer. Tenk! er et prosjekt som " +#~ "gjør at barna å lage filmer, som en måte å forstå og kritikk av filmet " +#~ "kultur som de finner rundt dem. hvert år, disse busser reise til mer enn " +#~ "tretti skoler og aktivere tre hundre til fem hundre barn til å lære noe " +#~ "om medier ved å gjøre noe med media. ved å gjøre tror de. ved fiksing og " +#~ "triksing lærer de." + +#~ msgid "" +#~ "\\\"Media literacy,\\\" as Dave Yanofsky, the executive director of Just " +#~ "Think!, puts it, \\\"is the ability . . . to understand, analyze, and " +#~ "deconstruct media images. Its aim is to make [kids] literate about the " +#~ "way media works, the way it's constructed, the way it's delivered, and " +#~ "the way people access it.\\\"" +#~ msgstr "" +#~ "\\\"media leseferdighet,\\\" som dave yanofsky, administrerende direktør " +#~ "i Tenk!, sier det, \\\"er... du kan forstå, analysere og deconstruct " +#~ "media bilder. Målet er å gjøre [barn] literate om måten mediet fungerer, " +#~ "hvordan den er konstruert, slik den er levert, og måten å få tilgang til " +#~ "den.\\\"" + +#~ msgid "" +#~ "This may seem like an odd way to think about \\\"literacy.\\\" For most " +#~ "people, literacy is about reading and writing. Faulkner and Hemingway and " +#~ "noticing split infinitives are the things that \\\"literate\\\" people " +#~ "know about." +#~ msgstr "" +#~ "Dette kan virke som en merkelig måte å tenke på \\\"leseferdighet.\\\" " +#~ "for folk flest, leseferdighet handler om lesing og skriving. Faulkner og " +#~ "hemingway og merke delte infinitiv er det ting som \\\"literate\\\" folk " +#~ "vet om." + +#~ msgid "" +#~ "Judith Van Evra, Television and Child Development (Hillsdale, N.J.: " +#~ "Lawrence Erlbaum Associates, 1990); \\\"Findings on Family and TV Study,\\" +#~ "\" Denver Post, 25 May 1997, B6." +#~ msgstr "" +#~ "Judith van evra, TV og barn utvikling (hillsdale, NJ: lawrence erlbaum " +#~ "associates, 1990); \\\"funn på familie og tv studie,\\\" denver innlegg, " +#~ "25 mai 1997, b6." + +#~ msgid "" +#~ "This skill is precisely the craft a filmmaker learns. As Daley describes, " +#~ "\\\"people are very surprised about how they are led through a film. [I]t " +#~ "is perfectly constructed to keep you from seeing it, so you have no idea. " +#~ "If a filmmaker succeeds you do not know how you were led.\\\" If you know " +#~ "you were led through a film, the film has failed." +#~ msgstr "" +#~ "denne ferdigheten er nøyaktig håndverket filmskaper lærer. som daley " +#~ "beskriver, er\\\"folk veldig overrasket om hvordan de er ledet gjennom en " +#~ "film. [i] t er perfekt konstruert for å hindre at du ser det, så du har " +#~ "ingen anelse om. Hvis en filmskaper lykkes du ikke vet hvordan du ble " +#~ "ledet.\\\"Hvis du vet at du ble ledet gjennom en film, filmen mislyktes." + +#~ msgid "" +#~ "\\\"Read-only.\\\" Passive recipients of culture produced elsewhere. " +#~ "Couch potatoes. Consumers. This is the world of media from the twentieth " +#~ "century." +#~ msgstr "" +#~ "\\\"lese-bare.\\\" passiv mottakerne av kultur produsert andre steder. " +#~ "Couch Poteter. forbrukere. Dette er verden av medier fra det tjuende " +#~ "århundre." + +#~ msgid "" +#~ "The class was held on Friday afternoons, and it created a relatively new " +#~ "problem for the school. While the challenge in most classes was getting " +#~ "the kids to come, the challenge in this class was keeping them away. The " +#~ "\\\"kids were showing up at 6 A.M. and leaving at 5 at night,\\\" said " +#~ "Barish. They were working harder than in any other class to do what " +#~ "education should be about--learning how to express themselves." +#~ msgstr "" +#~ "klassen ble avholdt fredag ettermiddagen, og det opprettes et relativt " +#~ "nytt problem for skolen. mens utfordringen i de fleste klasser fikk barna " +#~ "framover, var utfordringen i denne klassen holde dem unna. The \\\"barna " +#~ "var vise opp til 6 am og forlate ved 5 om natten,\\\" sa barish. de " +#~ "jobber hardere enn i noen annen klasse å gjøre hva utdanning bør være " +#~ "omtrent--lære å uttrykke seg." + +#~ msgid "" +#~ "Using whatever \\\"free web stuff they could find,\\\" and relatively " +#~ "simple tools to enable the kids to mix \\\"image, sound, and text,\\\" " +#~ "Barish said this class produced a series of projects that showed " +#~ "something about gun violence that few would otherwise understand. This " +#~ "was an issue close to the lives of these students. The project \\\"gave " +#~ "them a tool and empowered them to be able to both understand it and talk " +#~ "about it,\\\" Barish explained. That tool succeeded in creating " +#~ "expression--far more successfully and powerfully than could have been " +#~ "created using only text. \\\"If you had said to these students, `you have " +#~ "to do it in text,' they would've just thrown their hands up and gone and " +#~ "done something else,\\\" Barish described, in part, no doubt, because " +#~ "expressing themselves in text is not something these students can do " +#~ "well. Yet neither is text a form in which these ideas can be expressed " +#~ "well. The power of this message depended upon its connection to this form " +#~ "of expression." +#~ msgstr "" +#~ "bruker noe \\\"gratis web ting de kunne finne\\\", og relativt enkle " +#~ "verktøy til å aktivere barna å blande \\\"bilde, lyd og tekst\\\", sa " +#~ "barish denne klassen produsert en rekke prosjekter som viste noe om " +#~ "pistol vold som noen ellers ville forstå. Dette var et problem nær livene " +#~ "til disse studentene. prosjektet \\\"ga dem et verktøy og myndighet dem å " +#~ "være i stand til å både forstå det og snakke om det,\\\" barish forklart. " +#~ "som verktøyet lyktes i lage uttrykk--langt mer vellykket og kraftfullt " +#~ "enn kunne ha blitt skapt med bare teksten. \\\"Hvis du hadde sagt til " +#~ "disse studenter, 'du har å gjøre det i tekst', de ville har bare kastet " +#~ "sine hender opp og borte og gjort noe annet,\\\" er barish beskrevet i " +#~ "del, ingen tvil, fordi uttrykker seg i tekst ikke noe disse studentene " +#~ "kan gjøre godt. likevel verken er tekst et skjema i som disse ideene kan " +#~ "uttrykkes godt. kraften i denne meldingen depended upon dens forbindelse " +#~ "til denne formen for uttrykk." + +#~ msgid "" +#~ "\\\"But isn't education about teaching kids to write?\\\" I asked. In " +#~ "part, of course, it is. But why are we teaching kids to write? Education, " +#~ "Daley explained, is about giving students a way of \\\"constructing " +#~ "meaning.\\\" To say that that means just writing is like saying teaching " +#~ "writing is only about teaching kids how to spell. Text is one part--and " +#~ "increasingly, not the most powerful part--of constructing meaning. As " +#~ "Daley explained in the most moving part of our interview," +#~ msgstr "" +#~ "\\\"men ikke opplæring om undervise barna å skrive?\\\" spurte jeg. " +#~ "delvis, selvfølgelig, er det. men hvorfor er vi lærer barna å skrive? " +#~ "utdanning, daley forklart, handler om å gi elever en måte å \\" +#~ "\"konstruksjon av ny betydning.\\\" å si at det betyr bare skrive er som " +#~ "å si undervisning skriving er bare om å undervise barna hvordan å stave. " +#~ "teksten er én del-- og i økende grad, ikke den mektigste delen--for å " +#~ "bygge betydning. som daley forklart i den mest flyttende del av vårt " +#~ "intervju" + +#~ msgid "" +#~ "What you want is to give these students ways of constructing meaning. If " +#~ "all you give them is text, they're not going to do it. Because they " +#~ "can't. You know, you've got Johnny who can look at a video, he can play a " +#~ "video game, he can do graffiti all over your walls, he can take your car " +#~ "apart, and he can do all sorts of other things. He just can't read your " +#~ "text. So Johnny comes to school and you say, \\\"Johnny, you're " +#~ "illiterate. Nothing you can do matters.\\\" Well, Johnny then has two " +#~ "choices: He can dismiss you or he [can] dismiss himself. If his ego is " +#~ "healthy at all, he's going to dismiss you. [But i]nstead, if you say, \\" +#~ "\"Well, with all these things that you can do, let's talk about this " +#~ "issue. Play for me music that you think reflects that, or show me images " +#~ "that you think reflect that, or draw for me something that reflects that." +#~ "\\\" Not by giving a kid a video camera and . . . saying, \\\"Let's go " +#~ "have fun with the video camera and make a little movie.\\\" But instead, " +#~ "really help you take these elements that you understand, that are your " +#~ "language, and construct meaning about the topic. . . ." +#~ msgstr "" +#~ "Hva du ønsker er å gi disse elevene måter for å bygge betydning. Hvis alt " +#~ "du gi dem er tekst, er de ikke til å gjøre det på. fordi de ikke kan. du " +#~ "vet, du har johnny som kan se på en video, han kan spille et spill, kan " +#~ "han gjøre graffiti hele din vegger, han kan ta din bil fra hverandre, og " +#~ "han kan gjøre alle slags andre ting. han kan bare lese teksten. så johnny " +#~ "kommer til skolen, og du sier, \\\"johnny, du er analfabeter. ingenting " +#~ "du kan gjøre saker.\\\"Vel, johnny deretter har du to valg: han kan " +#~ "ignorere du eller han [kan] avvise selv. Hvis hans ego er sunn overhodet, " +#~ "skal han ignorere du. [men jeg] nstead, hvis du sier, \\\"Vel, med alle " +#~ "disse tingene du kan gjøre, la oss snakke om dette problemet. spille for " +#~ "meg musikk som du tror gjenspeiler som, eller vise meg bilder som du tror " +#~ "gjenspeile som, eller tegne for meg noe som gjenspeiler som.\\\"ikke ved " +#~ "å gi en gutt et videokamera og... sa:\\\"La oss gå har moro med " +#~ "videokameraet og gjøre en liten film.\\\", men i stedet, virkelig hjelpe " +#~ "deg med å ta disse elementene du forstår, som er ditt språk, og " +#~ "konstruere mening om emnet...." + +#~ msgid "" +#~ "That empowers enormously. And then what happens, of course, is " +#~ "eventually, as it has happened in all these classes, they bump up against " +#~ "the fact, \\\"I need to explain this and I really need to write something." +#~ "\\\" And as one of the teachers told Stephanie, they would rewrite a " +#~ "paragraph 5, 6, 7, 8 times, till they got it right." +#~ msgstr "" +#~ "som gir enormt. og deretter hva som skjer, selvfølgelig, er til slutt, " +#~ "som det har skjedd i alle disse klassene, de bump opp mot faktum, \\\"jeg " +#~ "trenger å forklare dette, og jeg virkelig trenger å skrive noe.\\\", og " +#~ "som en av lærerne fortalte stephanie, ville de omskrive et avsnitt 5, 6, " +#~ "7, 8 ganger, till de fått det riktig." + +#~ msgid "" +#~ "Because they needed to. There was a reason for doing it. They needed to " +#~ "say something, as opposed to just jumping through your hoops. They " +#~ "actually needed to use a language that they didn't speak very well. But " +#~ "they had come to understand that they had a lot of power with this " +#~ "language.\\\"" +#~ msgstr "" +#~ "fordi de måtte. Det var en grunn for å gjøre det. de trengte å si noe, i " +#~ "motsetning til bare hoppe gjennom ringer din. de faktisk har behov for å " +#~ "bruke et språk som de ikke snakker godt. men de hadde begynt å forstå at " +#~ "de hadde mye kraft med dette språket." + +#~ msgid "" +#~ "These retellings had an increasingly familiar feel. There was music " +#~ "scored for the intermissions, and fancy graphics that flashed across the " +#~ "screen. There was a formula to interviews. There was \\\"balance,\\\" and " +#~ "seriousness. This was news choreographed in the way we have increasingly " +#~ "come to expect it, \\\"news as entertainment,\\\" even if the " +#~ "entertainment is tragedy." +#~ msgstr "" +#~ "disse retellings hadde en stadig familiær stemning. Det var musikk scoret " +#~ "for intermissions og fancy grafikk som flashed hele skjermen. Det var en " +#~ "formel til intervjuer. Det var \\\"balanse\\\" og seriøsitet. Dette var " +#~ "nyheter koreograferte i måten vi er stadig mer vant til det, \\\"nyheter " +#~ "som underholdning,\\\" selv om underholdning er tragedie." + +#~ msgid "" +#~ "But in addition to this produced news about the \\\"tragedy of September " +#~ "11,\\\" those of us tied to the Internet came to see a very different " +#~ "production as well. The Internet was filled with accounts of the same " +#~ "events. Yet these Internet accounts had a very different flavor. Some " +#~ "people constructed photo pages that captured images from around the world " +#~ "and presented them as slide shows with text. Some offered open letters. " +#~ "There were sound recordings. There was anger and frustration. There were " +#~ "attempts to provide context. There was, in short, an extraordinary " +#~ "worldwide barn raising, in the sense Mike Godwin uses the term in his " +#~ "book Cyber Rights, around a news event that had captured the attention of " +#~ "the world. There was ABC and CBS, but there was also the Internet." +#~ msgstr "" +#~ "men i tillegg til denne produsert nyheter om \\\"tragedie av 11 september" +#~ "\\\", de av oss knyttet til Internett kom å se en svært forskjellige " +#~ "produksjon samt. Internett var fylt med kontoene til samme hendelsene. " +#~ "disse Internett-kontoer hadde ennå en helt annen smaken. noen mennesker " +#~ "konstruert foto sider som tatt bilder fra rundt om i verden og " +#~ "presenterte seg som lysbildefremvisninger med tekst. noen tilbudt åpne " +#~ "bokstaver. Det var lydopptak. Det var sinne og frustrasjon. var det " +#~ "forsøk på å gi kontekst. Det var, kort sagt, en ekstraordinære " +#~ "verdensomspennende låven heve, i den forstand mike godwin bruker termen i " +#~ "hans bok cyber rettigheter, rundt et aktuelt arrangement som hadde fanget " +#~ "oppmerksomheten av verden. Det var abc og cbs, men det var også Internett." + +#~ msgid "" +#~ "I don't mean simply to praise the Internet--though I do think the people " +#~ "who supported this form of speech should be praised. I mean instead to " +#~ "point to a significance in this form of speech. For like a Kodak, the " +#~ "Internet enables people to capture images. And like in a movie by a " +#~ "student on the \\\"Just Think!\\\" bus, the visual images could be mixed " +#~ "with sound or text." +#~ msgstr "" +#~ "Jeg trenger ikke bety bare å prise Internett - selv om jeg tror de som " +#~ "støttes av denne formen for tale skal rost. Jeg mener i stedet til å peke " +#~ "til en betydning i denne formen for tale. for som en kodak muliggjør " +#~ "Internett folk til å ta bilder. og som i en film av en student på \\" +#~ "\"bare tror!\\\"-bussen visuelle bilder kan blandes med lyd eller tekst." + +#~ msgid "" +#~ "Bruce Ackerman and James Fishkin, \\\"Deliberation Day,\\\" Journal of " +#~ "Political Philosophy 10 (2) (2002): 129." +#~ msgstr "" +#~ "Bruce ackerman og james fishkin, \\\"deliberation dag\\\", journal of " +#~ "politisk filosofi 10 (2) (2002): 129." + +#~ msgid "" +#~ "Noah Shachtman, \\\"With Incessant Postings, a Pundit Stirs the Pot,\\\" " +#~ "New York Times, 16 January 2003, G5." +#~ msgstr "" +#~ "Noah shachtman, \\\"med uopphørlig innlegg, en pundit stirs potten,\\\" " +#~ "new york times, 16 januar 2003, g5." + +#~ msgid "" +#~ "There's a second way, as well, in which blogs have a different cycle from " +#~ "the mainstream press. As Dave Winer, one of the fathers of this movement " +#~ "and a software author for many decades, told me, another difference is " +#~ "the absence of a financial \\\"conflict of interest.\\\" \\\"I think you " +#~ "have to take the conflict of interest\\\" out of journalism, Winer told " +#~ "me. \\\"An amateur journalist simply doesn't have a conflict of " +#~ "interest, or the conflict of interest is so easily disclosed that you " +#~ "know you can sort of get it out of the way.\\\"" +#~ msgstr "" +#~ "Det er en annen måte, så vel i hvilke blogger har en annen syklus fra " +#~ "ordinære trykk. som dave vin fortalte en av fedre av denne bevegelsen og " +#~ "forfatter av en programvare i mange tiår, meg, en annen forskjell er " +#~ "fraværet av en økonomisk \\\"interessekonflikt.\\\" Jeg tror du har til å " +#~ "ta konflikt av interesse\\\"ut av journalistikk, fortalte vin meg. \\\"en " +#~ "amatør journalist simpelthen har ikke en konflikt av interesse, eller " +#~ "konflikt av interesse er så lett avslørt at du vet du kan liksom få det " +#~ "ut av veien.\\\"" + +#~ msgid "" +#~ "See Michael Falcone, \\\"Does an Editor's Pencil Ruin a Web Log?\\\" New " +#~ "York Times, 29 September 2003, C4. (\\\"Not all news organizations have " +#~ "been as accepting of employees who blog. Kevin Sites, a CNN correspondent " +#~ "in Iraq who started a blog about his reporting of the war on March 9, " +#~ "stopped posting 12 days later at his bosses' request. Last year Steve " +#~ "Olafson, a Houston Chronicle reporter, was fired for keeping a personal " +#~ "Web log, published under a pseudonym, that dealt with some of the issues " +#~ "and people he was covering.\\\")" +#~ msgstr "" +#~ "se michael falcone, \\\"betyr en redigering blyant ødelegge en weblogg?\\" +#~ "\" new york times, 29. september 2003, c4. (\\\"ikke alle " +#~ "nyhetsorganisasjoner har vært så akseptere av ansatte som bloggen. Kevin " +#~ "områder, en cnn korrespondent i Irak som startet en blogg om sin " +#~ "rapportering av krigen mot mars 9, stoppet innlegg 12 dager senere på " +#~ "hans sjefer forespørsel. i fjor steve olafson, houston chronicle " +#~ "reporter, ble sparket for å holde en personlig weblogg, utgitt under " +#~ "psevdonym, som jobbet med noen av de problemer og folk som han var dekket." +#~ "\\\")" + +#~ msgid "" +#~ "This speech affects democracy. Winer thinks that happens because \\\"you " +#~ "don't have to work for somebody who controls, [for] a gatekeeper.\\\" " +#~ "That is true. But it affects democracy in another way as well. As more " +#~ "and more citizens express what they think, and defend it in writing, that " +#~ "will change the way people understand public issues. It is easy to be " +#~ "wrong and misguided in your head. It is harder when the product of your " +#~ "mind can be criticized by others. Of course, it is a rare human who " +#~ "admits that he has been persuaded that he is wrong. But it is even rarer " +#~ "for a human to ignore when he has been proven wrong. The writing of " +#~ "ideas, arguments, and criticism improves democracy. Today there are " +#~ "probably a couple of million blogs where such writing happens. When there " +#~ "are ten million, there will be something extraordinary to report." +#~ msgstr "" +#~ "denne talen påvirker demokrati. vin mener at skjer fordi \\\"du trenger " +#~ "ikke å arbeide for noen som styrer, [for] en gatekeeper.\\\" det er sant. " +#~ "men det har innvirkning på demokrati i en annen måte også. som flere og " +#~ "flere uttrykke borgere hva de tenker, og forsvare det skriftlig, som vil " +#~ "endre måten folk forstå offentlige problemer. Det er lett å være galt og " +#~ "misguided i hodet ditt. Det er vanskeligere når produktet av hjernen din " +#~ "kan bli kritisert av andre. Selvfølgelig, er det en sjelden menneske som " +#~ "innrømmer at han har blitt overtalt at han er galt. men det er aften " +#~ "sjelden for et menneske å ignorere når han har vært påvist feil. skriving " +#~ "av ideer, argumenter og kritikk forbedrer demokrati. i dag er det " +#~ "sannsynligvis et par millioner blogger der skrive slike skjer. Når det er " +#~ "ti millioner, vil det være noe ekstraordinære til rapporten." + +#~ msgid "" +#~ "John Seely Brown is the chief scientist of the Xerox Corporation. His " +#~ "work, as his Web site describes it, is \\\"human learning and . . . the " +#~ "creation of knowledge ecologies for creating . . . innovation.\\\"" +#~ msgstr "" +#~ "John seely brown er den ledende vitenskapsmannen for xerox corporation. " +#~ "hans arbeid, som hans webområdet beskriver det, er \\\"menneskelige " +#~ "læring og... etableringen av kunnskap dagsykluser for å opprette... " +#~ "innovasjon.\\\"" + +#~ msgid "" +#~ "As Brown believes, we learn by tinkering. When \\\"a lot of us grew up,\\" +#~ "\" he explains, that tinkering was done \\\"on motorcycle engines, " +#~ "lawnmower engines, automobiles, radios, and so on.\\\" But digital " +#~ "technologies enable a different kind of tinkering--with abstract ideas " +#~ "though in concrete form. The kids at Just Think! not only think about how " +#~ "a commercial portrays a politician; using digital technology, they can " +#~ "take the commercial apart and manipulate it, tinker with it to see how it " +#~ "does what it does. Digital technologies launch a kind of bricolage, or \\" +#~ "\"free collage,\\\" as Brown calls it. Many get to add to or transform " +#~ "the tinkering of many others." +#~ msgstr "" +#~ "som brunt mener vi lære av fiksing og triksing. Når \\\"mange av oss " +#~ "vokste opp,\\\" forklarer han at fiksing og triksing ble gjort \\\"på " +#~ "motorsykkel motorer, gressklipper motorer, biler, radioer og så videre.\\" +#~ "\", men digitale teknologier gir en annen fiksing og slags triksing--med " +#~ "abstrakte ideer om i konkrete-skjemaet. barna på tror bare! ikke bare " +#~ "tenke på hvordan en kommersiell skildrer en politiker; å bruke digital " +#~ "teknologi, kan de ta kommersielt fra hverandre og manipulere den, tinker " +#~ "med den for å se hvordan den gjør hva den gjør. Digital teknologi " +#~ "lanseringen en slags bricolage, eller \\\"gratis collage,\\\" som brown " +#~ "kaller det. mange kommer til å legge til eller forandre fiksing og den " +#~ "triksing av mange andre." + +#~ msgid "" +#~ "This opportunity creates a \\\"completely new kind of learning platform,\\" +#~ "\" as Brown describes. \\\"As soon as you start doing that, you . . . " +#~ "unleash a free collage on the community, so that other people can start " +#~ "looking at your code, tinkering with it, trying it out, seeing if they " +#~ "can improve it.\\\" Each effort is a kind of apprenticeship. \\\"Open " +#~ "source becomes a major apprenticeship platform.\\\"" +#~ msgstr "" +#~ "anledningen oppretter en \\\"helt ny type læring plattform,\\\" som brown " +#~ "beskriver. \\\"så snart du begynner å gjøre det, du... Slipp løs en " +#~ "gratis collage på samfunnet, slik at andre personer kan begynne å se på " +#~ "koden, fiksing og triksing med det, prøver det ut, å se hvis de kan " +#~ "forbedre den.\\\" hver innsats er en slags læretid. \\\"åpen kildekode " +#~ "blir en større læretid plattform.\\\"" + +#~ msgid "" +#~ "In this process, \\\"the concrete things you tinker with are abstract. " +#~ "They are code.\\\" Kids are \\\"shifting to the ability to tinker in the " +#~ "abstract, and this tinkering is no longer an isolated activity that " +#~ "you're doing in your garage. You are tinkering with a community " +#~ "platform. . . . You are tinkering with other people's stuff. The more " +#~ "you tinker the more you improve.\\\" The more you improve, the more you " +#~ "learn." +#~ msgstr "" +#~ "i denne prosessen, \\\"konkrete ting du tinker med er abstrakt. de er " +#~ "koden.\\\"barn er\\\"skiftende til muligheten til å tinker i abstrakt og " +#~ "denne fiksing og triksing er ikke lenger en isolert aktivitet som du gjør " +#~ "i garasjen. du er fiksing og triksing med en fellesskapet plattform.... " +#~ "du er fiksing og triksing med andres ting. Jo mer du tinker jo mer du " +#~ "forbedre.\\\"jo mer du forbedre, jo mer du lærer." + +#~ msgid "" +#~ "This same thing happens with content, too. And it happens in the same " +#~ "collaborative way when that content is part of the Web. As Brown puts it, " +#~ "\\\"the Web [is] the first medium that truly honors multiple forms of " +#~ "intelligence.\\\" Earlier technologies, such as the typewriter or word " +#~ "processors, helped amplify text. But the Web amplifies much more than " +#~ "text. \\\"The Web . . . says if you are musical, if you are artistic, if " +#~ "you are visual, if you are interested in film . . . [then] there is a lot " +#~ "you can start to do on this medium. [It] can now amplify and honor these " +#~ "multiple forms of intelligence.\\\"" +#~ msgstr "" +#~ "Denne samme ting skjer med innhold, også. og det skjer på samme måte som " +#~ "samarbeid når innholdet er en del av nettet. som brown sier det, \\\"web " +#~ "[er] første mediet som virkelig tar hensyn til flere former for " +#~ "intelligens.\\\" tidligere teknologi, for eksempel skrivemaskin eller " +#~ "tekstbehandlingsprogrammer, bidro til å forsterke tekst. Men nettet " +#~ "forsterker mye mer enn tekst. \\\"web... sier Hvis du er musikalske, hvis " +#~ "du er kunstnerisk, hvis du er visuelle, hvis du er interessert i " +#~ "filmen... [] er det mye du kan begynne å gjøre på dette mediet. [det] kan " +#~ "nå forsterke og respektere disse flere former for intelligens.\\\"" + +#~ msgid "" +#~ "See, for example, Edward Felten and Andrew Appel, \\\"Technological " +#~ "Access Control Interferes with Noninfringing Scholarship,\\\" " +#~ "Communications of the Association for Computer Machinery 43 (2000): 9." +#~ msgstr "" +#~ "Se for eksempel edward felten og andrew appel, \\\"teknologiske " +#~ "tilgangskontroll forstyrrer noninfringing stipend,\\\" kommunikasjon av " +#~ "association for computer machinery 43 (2000): 9." + +#~ msgid "" +#~ "\\\"This is where education in the twenty-first century is going,\\\" " +#~ "Brown explains. We need to \\\"understand how kids who grow up digital " +#~ "think and want to learn.\\\"" +#~ msgstr "" +#~ "\\\"Dette er hvor utdanning i det tjueførste århundret er kommer,\\\" " +#~ "brown forklarer. Vi trenger å \\\"forstå hvordan barn som vokser opp " +#~ "digital tror og vil lære.\\\"" + +#~ msgid "" +#~ "\\\"Yet,\\\" as Brown continued, and as the balance of this book will " +#~ "evince, \\\"we are building a legal system that completely suppresses the " +#~ "natural tendencies of today's digital kids. . . . We're building an " +#~ "architecture that unleashes 60 percent of the brain [and] a legal system " +#~ "that closes down that part of the brain.\\\"" +#~ msgstr "" +#~ "\\\"ennå,\\\" som brown fortsatte, og som balanse av denne boken vil " +#~ "evince, \\\"vi bygger en juridisk system som undertrykker helt naturlig " +#~ "tendensene til dagens digitale barn.... bygger vi en arkitektur som " +#~ "unleashes 60 prosent av hjernen [og] en juridisk system stenger ned som " +#~ "en del av hjernen.\\\"" + +#~ msgid "" +#~ "\\\"No way to run a culture,\\\" as Brewster Kahle, whom we'll meet in " +#~ "chapter 9, quipped to me in a rare moment of despondence." +#~ msgstr "" +#~ "\\\"ingen måte å kjøre en kultur\\\" som brewster kahle, hvem vil vi " +#~ "møtes i kapittel 9, quipped til meg i en sjelden øyeblikk av despondence." + +#~ msgid "" +#~ "Search engines are a measure of a network's intimacy. Google brought the " +#~ "Internet much closer to all of us by fantastically improving the quality " +#~ "of search on the network. Specialty search engines can do this even " +#~ "better. The idea of \\\"intranet\\\" search engines, search engines that " +#~ "search within the network of a particular institution, is to provide " +#~ "users of that institution with better access to material from that " +#~ "institution. Businesses do this all the time, enabling employees to have " +#~ "access to material that people outside the business can't get. " +#~ "Universities do it as well." +#~ msgstr "" +#~ "søkemotorer er et mål på et nettverk intimitet. Google brakt Internett " +#~ "mye nærmere for oss alle av utrolig å forbedre kvaliteten på Søk på " +#~ "nettverket. spesialitet søkemotorer kan gjøre dette enda bedre. ideen om " +#~ "\\\"intranett\\\" søkemotorer, søkemotorer som søke innenfor nettverket " +#~ "av en bestemt institusjon, er å gi brukere av at institusjonen bedre " +#~ "tilgang til materiale fra som institusjon. bedrifter gjøre dette hele " +#~ "tiden, slik at ansatte skal ha tilgang til materiale som ikke kan få " +#~ "personer utenfor bedriften. universiteter gjøre det også." + +#~ msgid "" +#~ "\\\"It was absurd,\\\" he told me. \\\"I don't think I did anything " +#~ "wrong. . . . I don't think there's anything wrong with the search engine " +#~ "that I ran or . . . what I had done to it. I mean, I hadn't modified it " +#~ "in any way that promoted or enhanced the work of pirates. I just modified " +#~ "the search engine in a way that would make it easier to use\\\"--again, a " +#~ "search engine, which Jesse had not himself built, using the Windows " +#~ "filesharing system, which Jesse had not himself built, to enable members " +#~ "of the RPI community to get access to content, which Jesse had not " +#~ "himself created or posted, and the vast majority of which had nothing to " +#~ "do with music." +#~ msgstr "" +#~ "\\\"det var absurd,\\\" sa han til meg. \\\"Jeg tror ikke jeg gjorde noe " +#~ "galt.... Jeg tror ikke det er noe galt med søkemotoren som jeg kjørte " +#~ "eller... hva jeg hadde gjort til den. Jeg mener, jeg ikke hadde endret " +#~ "det på noen måte som forfremmet eller utvidet arbeidet av pirater. Jeg " +#~ "bare endret søkemotoren på en måte som ville gjøre det enklere å bruke \\" +#~ "\"--igjen, en søkemotor, som jesse hadde ikke selv bygget, ved hjelp av " +#~ "windows filesharing systemet, som jesse hadde ikke selv bygget, for å la " +#~ "medlemmer av rpi-fellesskapet for å få tilgang til innhold, som jesse " +#~ "hadde ikke selv opprettet eller lagt ut, og det store flertallet av som " +#~ "hadde ingenting å gjøre med musikk." + +#~ msgid "" +#~ "But the RIAA branded Jesse a pirate. They claimed he operated a network " +#~ "and had therefore \\\"willfully\\\" violated copyright laws. They " +#~ "demanded that he pay them the damages for his wrong. For cases of \\" +#~ "\"willful infringement,\\\" the Copyright Act specifies something lawyers " +#~ "call \\\"statutory damages.\\\" These damages permit a copyright owner to " +#~ "claim $150,000 per infringement. As the RIAA alleged more than one " +#~ "hundred specific copyright infringements, they therefore demanded that " +#~ "Jesse pay them at least $15,000,000." +#~ msgstr "" +#~ "men riaa branded jesse en pirat. de hevdet han opererte et nettverk og " +#~ "derfor \\\"willfully\\\" hadde brutt lover om opphavsrett. de krevde at " +#~ "han betaler dem skader for hans feil. for tilfeller \\\"willful krenkelse" +#~ "\\\" av copyright act angir noe advokater samtale \\\"lovbestemte skader." +#~ "\\\" disse skader tillater en rettighetsinnehaveren å kreve $150.000 per " +#~ "krenkelse. som riaa påståtte mer enn hundre bestemt opphavsrett " +#~ "infringements, krevde de derfor at jesse betale dem minst $15,000,000." + +#~ msgid "" +#~ "Tim Goral, \\\"Recording Industry Goes After Campus P-2-P Networks: Suit " +#~ "Alleges $97.8 Billion in Damages,\\\" Professional Media Group LCC 6 " +#~ "(2003): 5, available at 2003 WL 55179443." +#~ msgstr "" +#~ "Tim goral, \\\"innspillingen industri går etter campus p-2-p nettverk: " +#~ "Dress alleges $97.8 milliarder i skader,\\\" profesjonell media gruppere " +#~ "lcc 6 (2003): 5, tilgjengelig på 2003 wl 55179443." + +#~ msgid "" +#~ "The RIAA wanted Jesse to admit to doing something wrong. He refused. They " +#~ "wanted him to agree to an injunction that would essentially make it " +#~ "impossible for him to work in many fields of technology for the rest of " +#~ "his life. He refused. They made him understand that this process of being " +#~ "sued was not going to be pleasant. (As Jesse's father recounted to me, " +#~ "the chief lawyer on the case, Matt Oppenheimer, told Jesse, \\\"You don't " +#~ "want to pay another visit to a dentist like me.\\\") And throughout, the " +#~ "RIAA insisted it would not settle the case until it took every penny " +#~ "Jesse had saved." +#~ msgstr "" +#~ "riaa ønsket jesse å innrømme til gjør noe galt. han nektet. de ønsket ham " +#~ "å godta en kjennelse som ville egentlig gjøre det umulig for ham å " +#~ "arbeide i mange felt av teknologi for resten av sitt liv. han nektet. de " +#~ "gjorde ham forstå at denne prosessen av å sued ikke var til å være " +#~ "hyggelig. (som jesse's far recounted til meg, sjef advokaten på saken, " +#~ "matt oppenheimer, fortalte jesse, \\\"du ikke ønsker å betale et besøk " +#~ "til en tannlege som meg.\\\") og hele riaa insisterte den ikke ville " +#~ "avgjøre saken før det tok hver krone jesse hadde lagret." + +#~ msgid "" +#~ "Douglas Lichtman makes a related point in \\\"KaZaA and Punishment,\\\" " +#~ "Wall Street Journal, 10 September 2003, A24." +#~ msgstr "" +#~ "Douglas lichtman gjør et relaterte poeng i \\\"kazaa og straff,\\\" wall " +#~ "street journal, 10 september 2003, a24." + +#~ msgid "" +#~ "Jesse's parents betray a certain pride in their reluctant activist. As " +#~ "his father told me, Jesse \\\"considers himself very conservative, and so " +#~ "do I. . . . He's not a tree hugger. . . . I think it's bizarre that they " +#~ "would pick on him. But he wants to let people know that they're sending " +#~ "the wrong message. And he wants to correct the record.\\\"" +#~ msgstr "" +#~ "jesse's foreldre forråde en bestemt stolthet i deres motvillige aktivist. " +#~ "som sin far fortalte meg, jesse \\\"anser seg selv svært konservativ, og " +#~ "så gjøre jeg.... Han er ikke en tree hugger.... Jeg tror det er bisarre " +#~ "at de ville plukke på ham. men han ønsker å la folk få vite at de sender " +#~ "feil budskap. og han ønsker å korrigere posten." + +#~ msgid "CHAPTER FOUR: \\\"Pirates\\\"" +#~ msgstr "Kapittel fire: \\\"pirater\\\"" + +#~ msgid "" +#~ "If \\\"piracy\\\" means using the creative property of others without " +#~ "their permission--if \\\"if value, then right\\\" is true--then the " +#~ "history of the content industry is a history of piracy. Every important " +#~ "sector of \\\"big media\\\" today--film, records, radio, and cable TV--" +#~ "was born of a kind of piracy so defined. The consistent story is how last " +#~ "generation's pirates join this generation's country club--until now." +#~ msgstr "" +#~ "Hvis \\\"piratkopiering\\\" betyr ved hjelp av kreative egenskapen til " +#~ "andre uten deres tillatelse--Hvis \\\"Hvis verdien, deretter høyre\\\" er " +#~ "sant-- deretter historien av innhold industrien er en historie om " +#~ "piratkopiering. viktig sektor av \\\"store media\\\" i dag - filmen, " +#~ "poster, radio og kabel-tv--ble født av en form for piratkopiering derfor " +#~ "definert. konsekvent historien er hvordan siste generasjon pirater bli " +#~ "med denne generasjon country club--før nå." + +#~ msgid "" +#~ "Of course, California grew quickly, and the effective enforcement of " +#~ "federal law eventually spread west. But because patents grant the patent " +#~ "holder a truly \\\"limited\\\" monopoly (just seventeen years at that " +#~ "time), by the time enough federal marshals appeared, the patents had " +#~ "expired. A new industry had been born, in part from the piracy of " +#~ "Edison's creative property." +#~ msgstr "" +#~ "Selvfølgelig, california vokste raskt, og effektiv håndhevelse av " +#~ "føderale lov til slutt spre vest. men fordi patenter gi patent holder en " +#~ "virkelig \\\"begrenset\\\" monopol (bare sytten år på den tiden), etter " +#~ "tid nok føderale marshals dukket opp, patentene var utløpt. en ny " +#~ "industri hadde blitt født, delvis fra piratkopiering av Edisons kreative " +#~ "eiendom." + +#~ msgid "" +#~ "At the time that Edison and Henri Fourneaux invented machines for " +#~ "reproducing music (Edison the phonograph, Fourneaux the player piano), " +#~ "the law gave composers the exclusive right to control copies of their " +#~ "music and the exclusive right to control public performances of their " +#~ "music. In other words, in 1900, if I wanted a copy of Phil Russel's 1899 " +#~ "hit \\\"Happy Mose,\\\" the law said I would have to pay for the right to " +#~ "get a copy of the musical score, and I would also have to pay for the " +#~ "right to perform it publicly." +#~ msgstr "" +#~ "på tiden at edison og henri fourneaux oppfunnet maskiner for å gjengi " +#~ "musikk (edison fonograf, fourneaux spiller piano), ga loven komponister " +#~ "den eksklusive retten til å kontrollere eksemplarer av deres musikk og " +#~ "den eksklusive retten til å kontrollere offentlig fremføring av musikken " +#~ "deres. med andre ord, i 1900, hvis jeg ønsket en kopi av phil russel's " +#~ "1899 hit \\\"happy mose,\\\" loven sa jeg måtte betale for rett til å få " +#~ "en kopi av den musikalske poeng, og jeg vil også måtte betale for retten " +#~ "til å utføre det offentlig." + +#~ msgid "" +#~ "But what if I wanted to record \\\"Happy Mose,\\\" using Edison's " +#~ "phonograph or Fourneaux's player piano? Here the law stumbled. It was " +#~ "clear enough that I would have to buy any copy of the musical score that " +#~ "I performed in making this recording. And it was clear enough that I " +#~ "would have to pay for any public performance of the work I was " +#~ "recording. But it wasn't totally clear that I would have to pay for a \\" +#~ "\"public performance\\\" if I recorded the song in my own house (even " +#~ "today, you don't owe the Beatles anything if you sing their songs in the " +#~ "shower), or if I recorded the song from memory (copies in your brain are " +#~ "not--yet-- regulated by copyright law). So if I simply sang the song into " +#~ "a recording device in the privacy of my own home, it wasn't clear that I " +#~ "owed the composer anything. And more importantly, it wasn't clear whether " +#~ "I owed the composer anything if I then made copies of those recordings. " +#~ "Because of this gap in the law, then, I could effectively pirate someone " +#~ "else's song without paying its composer anything." +#~ msgstr "" +#~ "men hva om jeg ønsket å spille inn \\\"happy mose,\\\" ved hjelp av " +#~ "Edisons fonograf eller fourneaux's Pianola? Her snublet loven. Det var " +#~ "klar nok til at jeg må kjøpe alle kopier av musikalske poengsummen som " +#~ "jeg utførte i å gjøre denne innspillingen. og det var klart nok til at " +#~ "jeg måtte betale for eventuelle offentlig fremføring av arbeidet jeg var " +#~ "innspillingen. men det var ikke helt klart at jeg måtte betale for en \\" +#~ "\"offentlig fremføring\\\" Hvis jeg spilte sangen i mitt eget hus (selv i " +#~ "dag, du ikke skylder beatles noe hvis du synge sine sanger i dusjen), " +#~ "eller hvis jeg spilte sangen fra minnet (kopier i hjernen er ikke--ennå--" +#~ "regulert av lov om opphavsrett). så hvis jeg bare sang sangen til en " +#~ "innspillingsenhet i personvernet til mitt eget hjem, det ikke var klart " +#~ "at jeg skyldte komponisten noe. og enda viktigere, det var ikke klart om " +#~ "jeg skyldte komponisten noe hvis jeg gjort deretter Kopier av disse " +#~ "innspillinger. på grunn av dette hullet i loven, så kunne jeg effektivt " +#~ "pirat andres sang uten å betale sin komponist noe." + +#~ msgid "" +#~ "The law soon resolved this battle in favor of the composer and the " +#~ "recording artist. Congress amended the law to make sure that composers " +#~ "would be paid for the \\\"mechanical reproductions\\\" of their music. " +#~ "But rather than simply granting the composer complete control over the " +#~ "right to make mechanical reproductions, Congress gave recording artists a " +#~ "right to record the music, at a price set by Congress, once the composer " +#~ "allowed it to be recorded once. This is the part of copyright law that " +#~ "makes cover songs possible. Once a composer authorizes a recording of his " +#~ "song, others are free to record the same song, so long as they pay the " +#~ "original composer a fee set by the law." +#~ msgstr "" +#~ "loven løst snart denne kampen til fordel for komponisten og opptak " +#~ "kunstneren. kongressen endret loven å sørge for at komponister ville bli " +#~ "betalt for \\\"mekaniske reproduksjoner\\\" av musikken deres. men i " +#~ "stedet for å bare gi komponisten full kontroll over høyre for å gjøre " +#~ "mekanisk reproduksjoner, Kongressen ga artister rett til å spille inn " +#~ "musikk, til en pris som er fastsatt av Kongressen, når komponisten " +#~ "tillater det å registreres én gang. Dette er delen av lov om opphavsrett " +#~ "som gjør dekke sanger mulig. Når en komponist autoriserer en innspilling " +#~ "av sangen, er andre gratis å registrere samme sang, så lenge de betaler " +#~ "den opprinnelige komponisten et gebyr som er angitt av loven." + +#~ msgid "" +#~ "American law ordinarily calls this a \\\"compulsory license,\\\" but I " +#~ "will refer to it as a \\\"statutory license.\\\" A statutory license is a " +#~ "license whose key terms are set by law. After Congress's amendment of the " +#~ "Copyright Act in 1909, record companies were free to distribute copies of " +#~ "recordings so long as they paid the composer (or copyright holder) the " +#~ "fee set by the statute." +#~ msgstr "" +#~ "amerikansk lov vanligvis kaller dette en \\\"tvangslisens\\\", men jeg " +#~ "vil se det som en \\\"lovbestemte lisens.\\\" en lovbestemte lisens er en " +#~ "lisens som hovedtermene angis av loven. etter congress's endring av " +#~ "copyright act i 1909 var plateselskaper fri til å distribuere kopier av " +#~ "opptakene så lenge de betalte komponist (eller opphavsrettsinnehaver) " +#~ "gebyr som er angitt av Vedtektene." + +#~ msgid "" +#~ "See 17 United States Code, sections 106 and 110. At the beginning, record " +#~ "companies printed \\\"Not Licensed for Radio Broadcast\\\" and other " +#~ "messages purporting to restrict the ability to play a record on a radio " +#~ "station. Judge Learned Hand rejected the argument that a warning " +#~ "attached to a record might restrict the rights of the radio station. See " +#~ "RCA Manufacturing Co. v. Whiteman, 114 F. 2d 86 (2nd Cir. 1940). See also " +#~ "Randal C. Picker, \\\"From Edison to the Broadcast Flag: Mechanisms of " +#~ "Consent and Refusal and the Propertization of Copyright,\\\" University " +#~ "of Chicago Law Review 70 (2003): 281." +#~ msgstr "" +#~ "se 17, united states code, inndelinger 106 og 110. på begynnelsen av, " +#~ "spille inn selskapene skrives ut \\\"ikke lisensiert for radiosendingen\\" +#~ "\" og andre meldinger purporting å begrense muligheten til å spille en " +#~ "post på en radiostasjon. dommer lært hånd avvist argumentet at en " +#~ "advarsel som er knyttet til en post kan begrense rettighetene til " +#~ "radiostasjonen. se rca produksjon co v. whiteman, 114 f. 2d 86 (2nd cir. " +#~ "1940). Se også randal c. datovelger, \\\"fra edison til kringkasting " +#~ "flagg: mekanismer av samtykke og nektet og propertization av opphavsrett," +#~ "\\\" university of chicago lov gå gjennom 70 (2003): 281." + +#~ msgid "" +#~ "But when the radio station plays a record, it is not only performing a " +#~ "copy of the composer's work. The radio station is also performing a copy " +#~ "of the recording artist's work. It's one thing to have \\\"Happy Birthday" +#~ "\\\" sung on the radio by the local children's choir; it's quite another " +#~ "to have it sung by the Rolling Stones or Lyle Lovett. The recording " +#~ "artist is adding to the value of the composition performed on the radio " +#~ "station. And if the law were perfectly consistent, the radio station " +#~ "would have to pay the recording artist for his work, just as it pays the " +#~ "composer of the music for his work." +#~ msgstr "" +#~ "men når radiostasjonen spiller en post, det er ikke bare utføre en kopi " +#~ "av komponistens arbeid. radiostasjonen presterer også en kopi av den " +#~ "Plateartist arbeid. Det er én ting å ha \\\"happy birthday\\\" sunget på " +#~ "radioen av lokale children's choir; Det er noe helt annet å ha det sunget " +#~ "av rolling stones eller lyle lovett. Plateartist er å legge til verdien " +#~ "for sammensetning som er utført på radiostasjonen. og hvis loven var " +#~ "hundre prosent konsekvente, radiostasjonen vil måtte betale Plateartist " +#~ "for sitt arbeid, akkurat som det lønner seg komponist av musikken for " +#~ "sitt arbeid." + +#~ msgid "" +#~ "Imagine she does sing your song, and imagine she likes it a lot. She then " +#~ "decides to make a recording of your song, and it becomes a top hit. Under " +#~ "our law, every time a radio station plays your song, you get some money. " +#~ "But Madonna gets nothing, save the indirect effect on the sale of her " +#~ "CDs. The public performance of her recording is not a \\\"protected\\\" " +#~ "right. The radio station thus gets to pirate the value of Madonna's work " +#~ "without paying her anything." +#~ msgstr "" +#~ "forestille hun gjør synge sangen, og forestille hun liker det mye. Hun " +#~ "deretter bestemmer seg for å gjøre en innspilling av sangen, og det blir " +#~ "en øverste treffet. under vår lov, hver gang en radiostasjon spiller " +#~ "sangen, kan du få noen penger. men madonna får ingenting, lagre den " +#~ "indirekte effekten på salget av hennes CDer. offentlig fremføring av " +#~ "hennes innspilling er ikke en \\\"beskyttet\\\" høyre. radiostasjonen får " +#~ "dermed pirat verdien av madonna's arbeid uten å betale henne noe." + +#~ msgid "" +#~ "It took Congress almost thirty years before it resolved the question of " +#~ "whether cable companies had to pay for the content they \\\"pirated.\\\" " +#~ "In the end, Congress resolved this question in the same way that it " +#~ "resolved the question about record players and player pianos. Yes, cable " +#~ "companies would have to pay for the content that they broadcast; but the " +#~ "price they would have to pay was not set by the copyright owner. The " +#~ "price was set by law, so that the broadcasters couldn't exercise veto " +#~ "power over the emerging technologies of cable. Cable companies thus built " +#~ "their empire in part upon a \\\"piracy\\\" of the value created by " +#~ "broadcasters' content." +#~ msgstr "" +#~ "Det tok Kongressen nesten tretti år før det løst spørsmålet på om " +#~ "kabelselskaper måtte betale for innholdet de \\\"piratkopiert.\\\" til " +#~ "slutt, Kongressen løst dette spørsmålet på samme måte at det løst " +#~ "spørsmålet om posten spillere og spilleren pianoer. Ja, kabelselskaper 'd " +#~ "have to pay for innholdet som de kringkaster; men prisen de vil måtte " +#~ "betale ble ikke angitt av eieren av opphavsretten. Prisen ble satt ved " +#~ "lov, slik at broadcasters ikke kunne utøve vetorett over de nye " +#~ "teknologiene av-kabelen. kabelselskaper dermed bygde sitt imperium delvis " +#~ "på en \\\"piratkopiering\\\" av verdiene som skapes av broadcasters' " +#~ "innhold." + +#~ msgid "CHAPTER FIVE: \\\"Piracy\\\"" +#~ msgstr "Kapittel fem: \\\"piratkopiering\\\"" + +#~ msgid "" +#~ "But as well as copy-shop piracy, there is another kind of \\\"taking\\\" " +#~ "that is more directly related to the Internet. That taking, too, seems " +#~ "wrong to many, and it is wrong much of the time. Before we paint this " +#~ "taking \\\"piracy,\\\" however, we should understand its nature a bit " +#~ "more. For the harm of this taking is significantly more ambiguous than " +#~ "outright copying, and the law should account for that ambiguity, as it " +#~ "has so often done in the past." +#~ msgstr "" +#~ "men samt kopieringsfirma piratkopiering, det er en annen type \\\"tar\\\" " +#~ "som er mer direkte relatert til Internett. det tar også, synes galt å " +#~ "mange, og det er galt mye av tiden. før vi male dette tar \\" +#~ "\"piratkopiering\\\", men må vi forstå sin natur litt mer. for skader som " +#~ "denne tar er betydelig mer tvetydig enn outright kopiering og loven skal " +#~ "konto for at tvetydighet som det så ofte har gjort i fortiden." + +#~ msgid "" +#~ "This is often true (though I have friends who have purchased many " +#~ "thousands of pirated DVDs who certainly have enough money to pay for the " +#~ "content they have taken), and it does mitigate to some degree the harm " +#~ "caused by such taking. Extremists in this debate love to say, \\\"You " +#~ "wouldn't go into Barnes & Noble and take a book off of the shelf " +#~ "without paying; why should it be any different with on-line music?\\\" " +#~ "The difference is, of course, that when you take a book from Barnes & " +#~ "Noble, it has one less book to sell. By contrast, when you take an MP3 " +#~ "from a computer network, there is not one less CD that can be sold. The " +#~ "physics of piracy of the intangible are different from the physics of " +#~ "piracy of the tangible." +#~ msgstr "" +#~ "Dette er ofte til stede (skjønt jeg har venner som har kjøpt mange " +#~ "tusenvis av piratkopiert DVD som absolutt har nok penger til å betale for " +#~ "innholdet de har tatt), og den begrenser til en viss grad skade " +#~ "forårsaket av slike tar. ekstremister i denne debatten elsker å si, \\" +#~ "\"du ikke ville gå inn i barnes & noble og ta en bok på sokkelen uten " +#~ "å betale; Hvorfor bør det være annerledes med on-line musikk?\\" +#~ "\"forskjellen er, selvfølgelig, at når du tar en bok fra barnes & " +#~ "noble, den har en mindre bok å selge. Når du tar en mp3 fra et " +#~ "datanettverk, er det derimot ikke en mindre cd som kan selges. fysikk av " +#~ "piratkopiering av immaterielle er forskjellige fra fysikk av " +#~ "piratkopiering av en konkret." + +#~ msgid "" +#~ "This argument is still very weak. However, although copyright is a " +#~ "property right of a very special sort, it is a property right. Like all " +#~ "property rights, the copyright gives the owner the right to decide the " +#~ "terms under which content is shared. If the copyright owner doesn't want " +#~ "to sell, she doesn't have to. There are exceptions: important statutory " +#~ "licenses that apply to copyrighted content regardless of the wish of the " +#~ "copyright owner. Those licenses give people the right to \\\"take\\\" " +#~ "copyrighted content whether or not the copyright owner wants to sell. But " +#~ "where the law does not give people the right to take content, it is wrong " +#~ "to take that content even if the wrong does no harm. If we have a " +#~ "property system, and that system is properly balanced to the technology " +#~ "of a time, then it is wrong to take property without the permission of a " +#~ "property owner. That is exactly what \\\"property\\\" means." +#~ msgstr "" +#~ "Dette argumentet er fortsatt veldig svak. men selv om opphavsrett er en " +#~ "egenskap høyre i en veldig spesiell sortering, er det en egenskap som er " +#~ "rett. som alle rettigheter gir copyright eieren retten til å avgjøre " +#~ "vilkårene som innholdet deles. Hvis eieren av opphavsretten ikke ønsker å " +#~ "selge, har hun ikke til. Det finnes unntak: viktig lovbestemte lisenser " +#~ "som gjelder opphavsrettsbeskyttet innhold uansett ønske fra eieren av " +#~ "opphavsretten. disse lisensene gi folk til å \\\"ta\\\" " +#~ "opphavsrettsbeskyttet innhold om eieren av opphavsretten ønsker å selge. " +#~ "men hvor loven ikke gir folk til å ta innhold, det er galt å ta innholdet " +#~ "selv om feil does nei skade. Hvis vi har et system eiendom, og at " +#~ "systemet er skikkelig balansert for en tid-teknologien, er det galt å ta " +#~ "eiendom uten tillatelse fra eieren av en egenskap. Det er akkurat hva \\" +#~ "\"property\\\" betyr." + +#~ msgid "" +#~ "But as the examples from the four chapters that introduced this part " +#~ "suggest, even if some piracy is plainly wrong, not all \\\"piracy\\\" is. " +#~ "Or at least, not all \\\"piracy\\\" is wrong if that term is understood " +#~ "in the way it is increasingly used today. Many kinds of \\\"piracy\\\" " +#~ "are useful and productive, to produce either new content or new ways of " +#~ "doing business. Neither our tradition nor any tradition has ever banned " +#~ "all \\\"piracy\\\" in that sense of the term." +#~ msgstr "" +#~ "men som eksempler fra fire kapitlene som innført denne del foreslå, selv " +#~ "om noen piratkopiering er tydelig galt, ikke alle \\\"piratkopiering\\\" " +#~ "er. eller i det minste ikke alle \\\"piratkopiering\\\" er galt Hvis " +#~ "dette ordet er forstått i måten det er i økende grad brukes i dag. mange " +#~ "typer \\\"piratkopiering\\\" er nyttig og produktive, å produsere enten " +#~ "nye innholdet eller nye måter å gjøre forretninger. vår tradisjon verken " +#~ "noen tradisjonen har du noensinne utestengt alle \\\"piratkopiering\\\" i " +#~ "den forstand av begrepet." + +#~ msgid "" +#~ "See Carolyn Lochhead, \\\"Silicon Valley Dream, Hollywood Nightmare,\\\" " +#~ "San Francisco Chronicle, 24 September 2002, A1; \\\"Rock 'n' Roll Suicide," +#~ "\\\" New Scientist, 6 July 2002, 42; Benny Evangelista, \\\"Napster Names " +#~ "CEO, Secures New Financing,\\\" San Francisco Chronicle, 23 May 2003, C1; " +#~ "\\\"Napster's Wake-Up Call,\\\" Economist, 24 June 2000, 23; John " +#~ "Naughton, \\\"Hollywood at War with the Internet\\\" (London) Times, 26 " +#~ "July 2002, 18." +#~ msgstr "" +#~ "se carolyn lochhead, \\\"silicon valley dream, hollywood mareritt\\\" san " +#~ "francisco chronicle, 24 september 2002, a1; \\\"rock 'n' roll suicide,\\" +#~ "\" new scientist, 6 juli 2002, 42; Benny evangelista, \\\"napster navn " +#~ "ceo, sikrer nye finansiering,\\\" san francisco chronicle, 23 kan 2003, " +#~ "c1; \\\"napster's våkne opp samtalen,\\\" økonom, 24 juni 2000, 23; John " +#~ "naughton, \\\"hollywood krig med Internett\\\" (london) ganger, 26 juli " +#~ "2002, 18." + +#~ msgid "" +#~ "Amy Harmon, \\\"Industry Offers a Carrot in Online Music Fight,\\\" New " +#~ "York Times, 6 June 2003, A1." +#~ msgstr "" +#~ "Amy harmon, \\\"industri tilbyr en gulrot i online musikk kamp,\\\" new " +#~ "york times, 6. juni 2003 a1." + +#~ msgid "" +#~ "There are many who use sharing networks to get access to copyrighted " +#~ "content that is no longer sold or that they would not have purchased " +#~ "because the transaction costs off the Net are too high. This use of " +#~ "sharing networks is among the most rewarding for many. Songs that were " +#~ "part of your childhood but have long vanished from the marketplace " +#~ "magically appear again on the network. (One friend told me that when she " +#~ "discovered Napster, she spent a solid weekend \\\"recalling\\\" old " +#~ "songs. She was astonished at the range and mix of content that was " +#~ "available.) For content not sold, this is still technically a violation " +#~ "of copyright, though because the copyright owner is not selling the " +#~ "content anymore, the economic harm is zero--the same harm that occurs " +#~ "when I sell my collection of 1960s 45-rpm records to a local collector." +#~ msgstr "" +#~ "Det er mange som bruk deling av nettverk for å få tilgang til " +#~ "opphavsrettsbeskyttet innhold som selges ikke lenger, eller at de ikke " +#~ "ville ha kjøpt fordi transaksjonen kostnadene av nettet er for høyt. " +#~ "denne bruken av deling nettverk er blant den mest givende for mange. " +#~ "sanger som var en del av din barndom, men har lenge forsvunnet fra " +#~ "markedet magisk vises igjen på nettverket. (en venn fortalte meg at når " +#~ "hun oppdaget napster, hun tilbrakte en solid weekend \\\"minner om gamle " +#~ "sanger. hun var forbauset over omfanget av og blanding av innhold som var " +#~ "tilgjengelig\\\".) for innhold som ikke er solgt, er dette teknisk sett " +#~ "fremdeles en krenkelse av opphavsrett, om fordi eieren av opphavsretten " +#~ "ikke selger innholdet lenger, økonomisk skade er null--den samme skaden " +#~ "som oppstår når jeg selger min samling av 1960-tallet 45 rpm poster til " +#~ "en lokal solfangeren." + +#~ msgid "" +#~ "Whether on balance sharing is harmful depends importantly on how harmful " +#~ "type A sharing is. Just as Edison complained about Hollywood, composers " +#~ "complained about piano rolls, recording artists complained about radio, " +#~ "and broadcasters complained about cable TV, the music industry complains " +#~ "that type A sharing is a kind of \\\"theft\\\" that is \\\"devastating\\" +#~ "\" the industry." +#~ msgstr "" +#~ "om på saldo deling er skadelig avhenger av viktigere på hvordan skadelige " +#~ "type en deling er. akkurat som edison klaget om hollywood, klaget " +#~ "komponister om piano rolls, artister klaget om radio, og broadcasters " +#~ "klaget over kabel-tv, musikkbransjen complains at typen en deling er en " +#~ "slags \\\"tyveri\\\", som er \\\"ødeleggende\\\" industrien." + +#~ msgid "" +#~ "We start to answer this question by focusing on the net harm, from the " +#~ "standpoint of the industry as a whole, that sharing networks cause. The " +#~ "\\\"net harm\\\" to the industry as a whole is the amount by which type A " +#~ "sharing exceeds type B. If the record companies sold more records through " +#~ "sampling than they lost through substitution, then sharing networks would " +#~ "actually benefit music companies on balance. They would therefore have " +#~ "little static reason to resist them." +#~ msgstr "" +#~ "Vi begynner å svare på dette spørsmålet ved å fokusere på netto skade, " +#~ "fra standpunktet av industrien som helhet, at deling nettverk. den \\" +#~ "\"net skaden\\\" til industrien som helhet er beløpet etter hvilken type " +#~ "en deling overskrider type b. Hvis plateselskapene solgte flere poster " +#~ "gjennom prøvetaking enn de mistet gjennom substitusjonsbehandling, og " +#~ "deretter dele nettverk ville faktisk fordel musikk bedriftene på balanse. " +#~ "de ville derfor ha liten statisk grunn til å motstå dem." + +#~ msgid "" +#~ "There are too many different things happening at the same time to explain " +#~ "these numbers definitively, but one conclusion is unavoidable: The " +#~ "recording industry constantly asks, \\\"What's the difference between " +#~ "downloading a song and stealing a CD?\\\"--but their own numbers reveal " +#~ "the difference. If I steal a CD, then there is one less CD to sell. Every " +#~ "taking is a lost sale. But on the basis of the numbers the RIAA provides, " +#~ "it is absolutely clear that the same is not true of downloads. If every " +#~ "download were a lost sale--if every use of Kazaa \\\"rob[bed] the author " +#~ "of [his] profit\\\"--then the industry would have suffered a 100 percent " +#~ "drop in sales last year, not a 7 percent drop. If 2.6 times the number of " +#~ "CDs sold were downloaded for free, and yet sales revenue dropped by just " +#~ "6.7 percent, then there is a huge difference between \\\"downloading a " +#~ "song and stealing a CD.\\\"" +#~ msgstr "" +#~ "Det er for mange forskjellige ting skjer samtidig å forklare disse " +#~ "tallene definitively, men en konklusjon er uunngåelig: recording industry " +#~ "stadig spør, \\\"Hva er forskjellen mellom å laste ned en sang og stjele " +#~ "en cd?\\\"-- Men sine egne tall avsløre forskjellen. Hvis jeg stjele en " +#~ "cd, er det en mindre cd å selge. hver tar er en tapt salg. men på " +#~ "grunnlag av tallene riaa gir, det er helt klart at det samme ikke gjelder " +#~ "for nedlastinger. Hvis hver nedlasting var et tapt salg--hvis hver bruk " +#~ "av kazaa \\\"rane [b] forfatteren av [hans] fortjeneste\\\"-- deretter " +#~ "industrien ville har lidd en 100 prosent nedgang i salget i fjor, ikke en " +#~ "7 prosent nedgang. Hvis 2,6 ganger så mange av CDer som selges ble lastet " +#~ "ned gratis, og ennå inntekter fra salg falt med bare 6.7 prosent, er det " +#~ "en stor forskjell mellom \\\"nedlasting av sanger og stjele en cd." + +#~ msgid "" +#~ "Type C sharing, then, is very much like used book stores or used record " +#~ "stores. It is different, of course, because the person making the content " +#~ "available isn't making money from making the content available. It is " +#~ "also different, of course, because in real space, when I sell a record, I " +#~ "don't have it anymore, while in cyberspace, when someone shares my 1949 " +#~ "recording of Bernstein's \\\"Two Love Songs,\\\" I still have it. That " +#~ "difference would matter economically if the owner of the copyright were " +#~ "selling the record in competition to my sharing. But we're talking about " +#~ "the class of content that is not currently commercially available. The " +#~ "Internet is making it available, through cooperative sharing, without " +#~ "competing with the market." +#~ msgstr "" +#~ "type c deling, deretter er veldig mye som brukte boken lagrer eller " +#~ "brukes posten butikker. Det er forskjellige, naturligvis, fordi personen " +#~ "å gjøre innholdet tilgjengelig ikke er å tjene penger på å gjøre " +#~ "innholdet tilgjengelig. Det er også forskjellige, naturligvis, fordi i " +#~ "virkelige rommet, når jeg selger en post, jeg ikke har det lenger, mens i " +#~ "cyberspace, når noen deler min 1949 innspillingen av bernstein's \\\"to " +#~ "love songs\\\", jeg fortsatt har det. at ville forskjellen saken " +#~ "økonomisk hvis eieren av opphavsretten solgte posten i konkurranse til " +#~ "min deling. men vi snakker om klassen av innhold som ikke er kommersielt " +#~ "tilgjengelig. Internett gjør det tilgjengelig, gjennom felles deling, " +#~ "uten konkurrerer med markedet." + +#~ msgid "" +#~ "Finally, and perhaps most importantly, file-sharing networks enable type " +#~ "D sharing to occur--the sharing of content that copyright owners want to " +#~ "have shared or for which there is no continuing copyright. This sharing " +#~ "clearly benefits authors and society. Science fiction author Cory " +#~ "Doctorow, for example, released his first novel, Down and Out in the " +#~ "Magic Kingdom, both free on-line and in bookstores on the same day. His " +#~ "(and his publisher's) thinking was that the on-line distribution would be " +#~ "a great advertisement for the \\\"real\\\" book. People would read part " +#~ "on-line, and then decide whether they liked the book or not. If they " +#~ "liked it, they would be more likely to buy it. Doctorow's content is type " +#~ "D content. If sharing networks enable his work to be spread, then both he " +#~ "and society are better off. (Actually, much better off: It is a great " +#~ "book!)" +#~ msgstr "" +#~ "til slutt, og kanskje viktigst, tillater fildelings-nettverk typen d " +#~ "deling oppstår--deling av innhold som eiere av opphavsretter vil har delt " +#~ "eller som det ikke finnes noen vedvarende copyright. Denne deling klart " +#~ "fordeler forfattere og samfunn. science fiction forfatteren cory " +#~ "doctorow, for eksempel utgitt sin første roman, ned og ut i magiske " +#~ "riket, begge to ledig online og i bokhandlere på samme dag. hans (og hans " +#~ "publisher) tenker var at on-line distribusjonen vil være en stor annonse " +#~ "for \\\"ekte\\\" boken. folk vil lese delen on-line, og deretter " +#~ "bestemmer deg om de likte boken eller ikke. Hvis de likte det, ville de " +#~ "være mer sannsynlig å kjøpe den. Doctorow er innholdet er typen d " +#~ "innhold. Hvis deling nettverk aktiverer sitt arbeid til å bli spredt, er " +#~ "både han og samfunnet bedre. (faktisk, mye bedre av: det er en stor bok!)" + +#~ msgid "" +#~ "The point throughout is this: While the recording industry understandably " +#~ "says, \\\"This is how much we've lost,\\\" we must also ask, \\\"How much " +#~ "has society gained from p2p sharing? What are the efficiencies? What is " +#~ "the content that otherwise would be unavailable?\\\"" +#~ msgstr "" +#~ "det hele er dette: mens recording industry forståelig sier, \\\"Dette er " +#~ "hvor mye vi har mistet,\\\" må vi også stille, \\\"hvor mye har samfunnet " +#~ "fra p2p fildeling? Hva er effektiviteten? Hva er innholdet som ellers " +#~ "ville være utilgjengelig?\\\"" + +#~ msgid "" +#~ "For unlike the piracy I described in the first section of this chapter, " +#~ "much of the \\\"piracy\\\" that file sharing enables is plainly legal and " +#~ "good. And like the piracy I described in chapter 4, much of this piracy " +#~ "is motivated by a new way of spreading content caused by changes in the " +#~ "technology of distribution. Thus, consistent with the tradition that gave " +#~ "us Hollywood, radio, the recording industry, and cable TV, the question " +#~ "we should be asking about file sharing is how best to preserve its " +#~ "benefits while minimizing (to the extent possible) the wrongful harm it " +#~ "causes artists. The question is one of balance. The law should seek that " +#~ "balance, and that balance will be found only with time." +#~ msgstr "" +#~ "for i motsetning til piratkopiering jeg beskrevet i den første delen av " +#~ "dette kapitlet, er mye av \\\"piratkopiering\\\" det arkiv deler " +#~ "aktiverer tydelig juridiske og god. og som piratkopiering som jeg " +#~ "beskrevet i kapittel 4, mye av denne sjørøver er motivert av en ny måte å " +#~ "spre innholdet som er forårsaket av endringer i teknologien for " +#~ "distribusjon. Således, i samsvar med tradisjon som ga oss hollywood, " +#~ "radio, recording industry og kabel-tv, spørsmålet vi bør spørre om " +#~ "fildeling er hvordan best å beholde sine fordeler og minimere (i grad " +#~ "mulig) den wrongful skade det årsaker kunstnere. spørsmålet er en av " +#~ "balanse. loven bør søke denne balansen, og denne balansen blir funnet " +#~ "bare med tid." + +#~ msgid "" +#~ "\\\"But isn't the war just a war against illegal sharing? Isn't the " +#~ "target just what you call type A sharing?\\\"" +#~ msgstr "" +#~ "men er ikke krigen bare en krig mot ulovlig deling? er ikke målet bare " +#~ "det du skriver inn en deling?" + +#~ msgid "" +#~ "So, as we've seen, when \\\"mechanical reproduction\\\" threatened the " +#~ "interests of composers, Congress balanced the rights of composers against " +#~ "the interests of the recording industry. It granted rights to composers, " +#~ "but also to the recording artists: Composers were to be paid, but at a " +#~ "price set by Congress. But when radio started broadcasting the recordings " +#~ "made by these recording artists, and they complained to Congress that " +#~ "their \\\"creative property\\\" was not being respected (since the radio " +#~ "station did not have to pay them for the creativity it broadcast), " +#~ "Congress rejected their claim. An indirect benefit was enough." +#~ msgstr "" +#~ "så, som vi har sett, når \\\"mekaniske reproduksjon\\\" truet interessene " +#~ "til komponister, Kongressen balansert rettigheter mot interessene til " +#~ "musikkindustrien. det tildelt rights composers, men også artistene: " +#~ "komponister var å bli betalt, men til en pris som er fastsatt av " +#~ "Kongressen. men når radioen begynte kringkasting innspillingene er gjort " +#~ "av disse artister og de klaget til Kongressen at deres \\\"kreative " +#~ "eiendom\\\" ikke var blir respektert (siden radiostasjonen ikke har å " +#~ "betale dem for kreativitet det kringkaste), Kongressen avvist deres krav. " +#~ "en indirekte fordel var nok." + +#~ msgid "" +#~ "In the same year that Congress struck this balance, two major producers " +#~ "and distributors of film content filed a lawsuit against another " +#~ "technology, the video tape recorder (VTR, or as we refer to them today, " +#~ "VCRs) that Sony had produced, the Betamax. Disney's and Universal's claim " +#~ "against Sony was relatively simple: Sony produced a device, Disney and " +#~ "Universal claimed, that enabled consumers to engage in copyright " +#~ "infringement. Because the device that Sony built had a \\\"record\\\" " +#~ "button, the device could be used to record copyrighted movies and shows. " +#~ "Sony was therefore benefiting from the copyright infringement of its " +#~ "customers. It should therefore, Disney and Universal claimed, be " +#~ "partially liable for that infringement." +#~ msgstr "" +#~ "samme år at Kongressen traff denne balansen, to store produsenter og " +#~ "distributører av filmen innhold anlagt en sak mot en annen teknologi, " +#~ "video tape recorder (vtr, eller som vi refererer til dem i dag, " +#~ "videospillere) at sony hadde produsert, betamax. disney's og universal's " +#~ "krav mot sony var relativt enkelt: sony produsert en enhet, disney og " +#~ "universal hevdet, som aktivert forbrukere til å engasjere seg i krenkelse " +#~ "av opphavsrett. fordi enheten som sony bygget hadde en \\\"post\\\"-" +#~ "knappen, vil enheten kan brukes til å registrere opphavsrettsbeskyttede " +#~ "filmer, og viser. Sony var derfor drar nytte av opphavsretten til sine " +#~ "kunder. Det bør derfor disney og universal hevdet, være delvis ansvarlig " +#~ "for at krenkelse." + +#~ msgid "" +#~ "There was something to Disney's and Universal's claim. Sony did decide to " +#~ "design its machine to make it very simple to record television shows. It " +#~ "could have built the machine to block or inhibit any direct copying from " +#~ "a television broadcast. Or possibly, it could have built the machine to " +#~ "copy only if there were a special \\\"copy me\\\" signal on the line. It " +#~ "was clear that there were many television shows that did not grant anyone " +#~ "permission to copy. Indeed, if anyone had asked, no doubt the majority of " +#~ "shows would not have authorized copying. And in the face of this obvious " +#~ "preference, Sony could have designed its system to minimize the " +#~ "opportunity for copyright infringement. It did not, and for that, Disney " +#~ "and Universal wanted to hold it responsible for the architecture it chose." +#~ msgstr "" +#~ "Det var noe til disney's og universal's krav. Sony bestemmer deg for å " +#~ "utforme sin maskin for å gjøre det svært enkelt å spille inn TV-" +#~ "programmer. Det kan ha bygget maskinen hvis du vil blokkere, eller hindre " +#~ "enhver direkte kopiere fra en TV kringkasting. eller muligens den kunne " +#~ "har bygget maskinen for å kopiere bare hvis det var en spesiell \\" +#~ "\"Kopier meg\\\" signal på linjen. Det var klart at det var mange TV-" +#~ "programmer som ikke gi noen tillatelse til å kopiere. faktisk, hvis noen " +#~ "hadde spurt, ingen tvil flertallet av viser ville ikke har autorisert " +#~ "kopiering. og i møte med denne åpenbare preferanse, sony kan har utformet " +#~ "sitt system å minimere muligheten for brudd på opphavsrettigheter. det " +#~ "gjorde ikke, og for det, disney og universal ønsket å holde den ansvarlig " +#~ "for arkitektur som er valgt." + +#~ msgid "" +#~ "Congress was asked to respond to the Supreme Court's decision. But as " +#~ "with the plea of recording artists about radio broadcasts, Congress " +#~ "ignored the request. Congress was convinced that American film got " +#~ "enough, this \\\"taking\\\" notwithstanding. If we put these cases " +#~ "together, a pattern is clear:" +#~ msgstr "" +#~ "Kongressen ble bedt om å svare på den Høyesterett beslutningen. men som " +#~ "med appell av artister om radiosendinger, Kongressen ignorert " +#~ "forespørselen. Kongressen var overbevist om at amerikanske film fikk nok, " +#~ "denne \\\"tar\\\" til tross for. Hvis vi setter disse tilfellene sammen, " +#~ "et mønster er klart:" + +#~ msgid "WHOSE VALUE WAS \\\"PIRATED\\\"" +#~ msgstr "verdien var \\\"piratkopiert\\\"" + +#~ msgid "" +#~ "In none of these cases did either the courts or Congress eliminate all " +#~ "free riding. In none of these cases did the courts or Congress insist " +#~ "that the law should assure that the copyright holder get all the value " +#~ "that his copyright created. In every case, the copyright owners " +#~ "complained of \\\"piracy.\\\" In every case, Congress acted to recognize " +#~ "some of the legitimacy in the behavior of the \\\"pirates.\\\" In each " +#~ "case, Congress allowed some new technology to benefit from content made " +#~ "before. It balanced the interests at stake." +#~ msgstr "" +#~ "Ingen av disse tilfellene enten domstoler eller Kongressen eliminere alle " +#~ "gratis ridning. Ingen av disse tilfellene gjorde domstoler eller " +#~ "Kongressen insisterer at loven skal sikre at opphavsrettsinnehaver får " +#~ "alle verdien som hans copyright opprettet. i alle tilfeller klaget " +#~ "opphavsrett eierne av \\\"piratkopiering.\\\" i alle tilfeller, " +#~ "Kongressen handlet for å gjenkjenne noen av legitimitet i virkemåten til " +#~ "den \\\"pirater.\\\" i hvert tilfelle Kongressen tillatt noen ny " +#~ "teknologi for å dra nytte av innhold gjort før. det balansert interesser " +#~ "på spill." + +#~ msgid "" +#~ "We should be doing the same thing today. The technology of the Internet " +#~ "is changing quickly. The way people connect to the Internet (wires vs. " +#~ "wireless) is changing very quickly. No doubt the network should not " +#~ "become a tool for \\\"stealing\\\" from artists. But neither should the " +#~ "law become a tool to entrench one particular way in which artists (or " +#~ "more accurately, distributors) get paid. As I describe in some detail in " +#~ "the last chapter of this book, we should be securing income to artists " +#~ "while we allow the market to secure the most efficient way to promote and " +#~ "distribute content. This will require changes in the law, at least in the " +#~ "interim. These changes should be designed to balance the protection of " +#~ "the law against the strong public interest that innovation continue." +#~ msgstr "" +#~ "Vi bør gjøre samme i dag. teknologien for Internett endrer seg raskt. " +#~ "endrer måten brukere koble seg til Internett (ledninger vs. trådløs) " +#~ "svært raskt. ingen tvil om bør nettverket ikke bli et verktøy for \\" +#~ "\"stjele\\\" fra artister. men heller ikke bør loven bli et verktøy for å " +#~ "innarbeide en bestemte måten hvilke artister (eller mer nøyaktig, " +#~ "distributører) får betalt. som jeg beskriver i noen detalj i det siste " +#~ "kapitlet i denne boken, bør vi være sikre inntekt til kunstnere mens vi " +#~ "tillater markedet for å sikre den mest effektive måten å fremme og " +#~ "distribuere innhold. Dette vil kreve endringer i loven, minst i " +#~ "mellomtiden. disse endringene skal være utformet for å balansere " +#~ "beskyttelsen av loven mot sterk offentlig interesse at innovasjon " +#~ "fortsette." + +#~ msgid "" +#~ "John Schwartz, \\\"New Economy: The Attack on Peer-to-Peer Software " +#~ "Echoes Past Efforts,\\\" New York Times, 22 September 2003, C3." +#~ msgstr "" +#~ "John schwartz, \\\"nye økonomien: angrepet på node-til-node-programvare " +#~ "reflekterer forbi innsats,\\\" new york times, 22 september 2003, c3." + +#~ msgid "" +#~ "\\\"It is our property,\\\" the warriors insist. \\\"And it should be " +#~ "protected just as any other property is protected.\\\"" +#~ msgstr "" +#~ "\\\"det er vår eiendom,\\\" insisterer warriors. \\\"og det bør være " +#~ "beskyttet på samme måte som en annen egenskap er beskyttet." + +#~ msgid "\\\"PROPERTY\\\"" +#~ msgstr "egenskapen" + +#~ msgid "" +#~ "But in ordinary language, to call a copyright a \\\"property\\\" right is " +#~ "a bit misleading, for the property of copyright is an odd kind of " +#~ "property. Indeed, the very idea of property in any idea or any " +#~ "expression is very odd. I understand what I am taking when I take the " +#~ "picnic table you put in your backyard. I am taking a thing, the picnic " +#~ "table, and after I take it, you don't have it. But what am I taking when " +#~ "I take the good idea you had to put a picnic table in the backyard--by, " +#~ "for example, going to Sears, buying a table, and putting it in my " +#~ "backyard? What is the thing I am taking then?" +#~ msgstr "" +#~ "men i vanlig språk, å ringe en copyright \\\"property\\\" høyre er litt " +#~ "misvisende, for copyright-egenskapen er en odde type bolig. selve ideen " +#~ "om eiendom i noen ide eller et annet uttrykk er faktisk svært ulike. Jeg " +#~ "forstår hva jeg tar når jeg tar picnic bord du innlegge din bakgård. Jeg " +#~ "tar en ting, picnic bord, og etter at jeg tar det, du har ikke det. men " +#~ "hva jeg ta når jeg tar god idé du måtte sette en picnic bord i bakgården--" +#~ "av, for eksempel skal sears, kjøpe en tabell, og sette det i min bakgård? " +#~ "Hva er det jeg tar deretter?" + +#~ msgid "" +#~ "As the legal realists taught American law, all property rights are " +#~ "intangible. A property right is simply a right that an individual has " +#~ "against the world to do or not do certain things that may or may not " +#~ "attach to a physical object. The right itself is intangible, even if the " +#~ "object to which it is (metaphorically) attached is tangible. See Adam " +#~ "Mossoff, \\\"What Is Property? Putting the Pieces Back Together,\\\" " +#~ "Arizona Law Review 45 (2003): 373, 429 n. 241." +#~ msgstr "" +#~ "som de juridiske realistene lærte amerikansk lov, er alle " +#~ "eiendomsrettigheter immaterielle. egenskapen rett er ganske enkelt en " +#~ "rettighet som en person har mot verden å gjøre eller ikke gjøre visse " +#~ "ting som kan eller ikke kan koble til et fysisk objekt. høyre selv er " +#~ "immaterielle, selv om objektet som det er (metaforisk) tilknyttet er " +#~ "varige. se adam mossoff, \\\"Hva er egenskapen? å sette dem tilbake " +#~ "sammen,\\\"-arizona lov, se 45 (2003): 373, 429 n. 241." + +#~ msgid "" +#~ "My strategy in doing this will be the same as my strategy in the " +#~ "preceding part. I offer four stories to help put the idea of \\" +#~ "\"copyright material is property\\\" in context. Where did the idea come " +#~ "from? What are its limits? How does it function in practice? After these " +#~ "stories, the significance of this true statement--\\\"copyright material " +#~ "is property\\\"-- will be a bit more clear, and its implications will be " +#~ "revealed as quite different from the implications that the copyright " +#~ "warriors would have us draw." +#~ msgstr "" +#~ "min strategi for å gjøre dette vil være det samme som min strategi i den " +#~ "foregående delen. Jeg tilbyr fire historier å hjelpe sette ideen om \\" +#~ "\"copyright-beskyttet materiale er egenskapen\\\" i sammenheng. hvor gikk " +#~ "ideen kommer fra? Hva er sine grenser? Hvordan fungerer det i praksis? " +#~ "Når disse historiene, betydningen av dette sant setningen--\\\"copyright-" +#~ "beskyttet materiale er egenskapen\\\"--blir litt klarere og dens " +#~ "implikasjoner vil bli avslørt som ganske forskjellig fra implikasjonene " +#~ "at opphavsrett krigere ville ha oss til å tegne." + +#~ msgid "" +#~ "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a \\" +#~ "\"copyright law.\\\" See Vaidhyanathan, Copyrights and Copywrongs, 40." +#~ msgstr "" +#~ "som siva vaidhyanathan hevder pent, er det feilaktige å kalle dette en \\" +#~ "\"copyright lov.\\\" se vaidhyanathan, opphavsrett og copywrongs, 40." + +#~ msgid "" +#~ "The reason is that the English hadn't yet agreed on what a \\\"copyright\\" +#~ "\" was--indeed, no one had. At the time the English passed the Statute of " +#~ "Anne, there was no other legislation governing copyrights. The last law " +#~ "regulating publishers, the Licensing Act of 1662, had expired in 1695. " +#~ "That law gave publishers a monopoly over publishing, as a way to make it " +#~ "easier for the Crown to control what was published. But after it " +#~ "expired, there was no positive law that said that the publishers, or \\" +#~ "\"Stationers,\\\" had an exclusive right to print books." +#~ msgstr "" +#~ "årsaken er at engelske ikke hadde ennå avtalt på hva \\\"copyright\\\" " +#~ "ingen var--faktisk hadde. på tiden engelske passert Vedtektene for anne, " +#~ "var det ingen andre lovgivning om opphavsrett. siste loven som regulerer " +#~ "utgivere, hadde lisensiering loven av 1662, utløpt i 1695. at loven ga " +#~ "utgivere monopol over publisering, som en måte å gjøre det enklere for " +#~ "kronen til å kontrollere hva ble publisert. men etter at det har utløpt, " +#~ "var det ingen positiv lov som sa at det hadde en eksklusiv rett til å " +#~ "skrive ut bøker i utgivere, eller \\\"stationers\\\"." + +#~ msgid "" +#~ "There was no positive law, but that didn't mean that there was no law. " +#~ "The Anglo-American legal tradition looks to both the words of " +#~ "legislatures and the words of judges to know the rules that are to govern " +#~ "how people are to behave. We call the words from legislatures \\" +#~ "\"positive law.\\\" We call the words from judges \\\"common law.\\\" The " +#~ "common law sets the background against which legislatures legislate; the " +#~ "legislature, ordinarily, can trump that background only if it passes a " +#~ "law to displace it. And so the real question after the licensing statutes " +#~ "had expired was whether the common law protected a copyright, independent " +#~ "of any positive law." +#~ msgstr "" +#~ "var det ingen positiv lov, men det betyr ikke at det var ingen lov. den " +#~ "anglo-amerikanske juridiske tradisjonen ser til begge ordene av " +#~ "legislatures og ord dommere kjenne reglene som styrer hvordan folk er å " +#~ "oppføre seg. Vi kaller ordene fra legislatures \\\"positiv lov.\\\" vi " +#~ "kaller ordene fra dommerne \\\"sedvanerett.\\\" felles lov angir " +#~ "bakgrunnen som vedta legislatures lovgivning; legislature, vanligvis kan " +#~ "trumfe at bakgrunnen bare hvis det går gjennom en lov til å forskyve den. " +#~ "og så var det virkelige spørsmålet etter lisensiering lover hadde utløpt " +#~ "om felles lov beskyttet opphavsretten, uavhengig av lovverket positiv." + +#~ msgid "" +#~ "This question was important to the publishers, or \\\"booksellers,\\\" as " +#~ "they were called, because there was growing competition from foreign " +#~ "publishers. The Scottish, in particular, were increasingly publishing and " +#~ "exporting books to England. That competition reduced the profits of the " +#~ "Conger, which reacted by demanding that Parliament pass a law to again " +#~ "give them exclusive control over publishing. That demand ultimately " +#~ "resulted in the Statute of Anne." +#~ msgstr "" +#~ "Dette spørsmålet var viktig til utgivere eller \\\"bokhandlere,\\\" som " +#~ "de ble kalt, fordi det var økende konkurransen fra utenlandske utgivere. " +#~ "Skottland, spesielt var stadig publisering og eksporterer bøker til " +#~ "england. at konkurransen redusert fortjeneste av conger, som reagert av " +#~ "krevende at parlamentet pass en lov til å igjen gi dem eksklusiv kontroll " +#~ "over publisering. som krever til slutt resulterte i Vedtektene for anne." + +#~ msgid "" +#~ "The Statute of Anne granted the author or \\\"proprietor\\\" of a book an " +#~ "exclusive right to print that book. In an important limitation, however, " +#~ "and to the horror of the booksellers, the law gave the bookseller that " +#~ "right for a limited term. At the end of that term, the copyright \\" +#~ "\"expired,\\\" and the work would then be free and could be published by " +#~ "anyone. Or so the legislature is thought to have believed." +#~ msgstr "" +#~ "Vedtektene for anne gitt forfatteren eller \\\"eierskap\\\" av en bok, en " +#~ "eksklusiv rett til å skrive ut denne boken. i en viktig begrensning, " +#~ "imidlertid, og til forferdelse av bokhandlere, ga loven den lokale " +#~ "Bokhandleren at høyre for en begrenset periode. på slutten av dette " +#~ "ordet, copyright \\\"utløpt\\\", og arbeidet vil da være gratis, og kan " +#~ "bli publisert av alle. eller så legislature antas å ha trodd." + +#~ msgid "" +#~ "For the booksellers, and the authors whom they represented, had a very " +#~ "strong claim. Take Romeo and Juliet as an example: That play was written " +#~ "by Shakespeare. It was his genius that brought it into the world. He " +#~ "didn't take anybody's property when he created this play (that's a " +#~ "controversial claim, but never mind), and by his creating this play, he " +#~ "didn't make it any harder for others to craft a play. So why is it that " +#~ "the law would ever allow someone else to come along and take " +#~ "Shakespeare's play without his, or his estate's, permission? What reason " +#~ "is there to allow someone else to \\\"steal\\\" Shakespeare's work?" +#~ msgstr "" +#~ "for bokhandlerne, og forfattere som de representerte, hadde et veldig " +#~ "sterk krav. ta romeo og Julie som et eksempel: som spill ble skrevet av " +#~ "shakespeare. Det var hans geni som brakte den til verden. Han gjorde ikke " +#~ "ta noen egenskapen når han opprettet dette spillet (det er en " +#~ "kontroversielle påstanden, men aldri tankene), og hans oppretter denne " +#~ "spill, han ikke gjør det noe vanskeligere for andre til å lage et spill. " +#~ "så hvorfor er det at loven noensinne ville tillate noen annet å komme " +#~ "sammen og ta Shakespeares uten hans, eller hans eiendom, tillatelse? Hva " +#~ "grunn er der for å tillate at noen andre \\\"stjele\\\" Shakespeares " +#~ "arbeid?" + +#~ msgid "" +#~ "The answer comes in two parts. We first need to see something special " +#~ "about the notion of \\\"copyright\\\" that existed at the time of the " +#~ "Statute of Anne. Second, we have to see something important about \\" +#~ "\"booksellers.\\\"" +#~ msgstr "" +#~ "svaret kommer i to deler. Først må vi se noe spesielt med oppfatningen av " +#~ "\\\"copyright\\\" som fantes på tidspunktet for Vedtektene for anne. " +#~ "andre, har vi å se noe viktig om \\\"bokhandlere.\\\"" + +#~ msgid "" +#~ "First, about copyright. In the last three hundred years, we have come to " +#~ "apply the concept of \\\"copyright\\\" ever more broadly. But in 1710, it " +#~ "wasn't so much a concept as it was a very particular right. The copyright " +#~ "was born as a very specific set of restrictions: It forbade others from " +#~ "reprinting a book. In 1710, the \\\"copy-right\\\" was a right to use a " +#~ "particular machine to replicate a particular work. It did not go beyond " +#~ "that very narrow right. It did not control any more generally how a work " +#~ "could be used. Today the right includes a large collection of " +#~ "restrictions on the freedom of others: It grants the author the exclusive " +#~ "right to copy, the exclusive right to distribute, the exclusive right to " +#~ "perform, and so on." +#~ msgstr "" +#~ "først om opphavsrett. i de siste tre hundre årene, har vi kommet til å " +#~ "bruke begrepet \\\"copyright\\\" stadig mer forstand. men i 1710, det var " +#~ "ikke så mye et konsept som det var en meget bestemt høyre. opphavsretten " +#~ "ble født som en svært spesifikke sett med begrensninger: det forbød andre " +#~ "fra ettertrykk en bok. i 1710 var \\\"kopi-rett\\\" en rett til å bruke " +#~ "en bestemt maskin til å replikere en bestemt arbeid. det ikke gå utover " +#~ "det svært smale riktig. det ikke kontrollere mer generelt hvordan et " +#~ "arbeid kan brukes. i dag høyre inkluderer en stor samling av " +#~ "restriksjoner på andres: det gir forfatteren til eksklusiv rett til å " +#~ "kopiere, eksklusiv rett til å distribuere, eksklusiv rett til å utføre, " +#~ "og så videre." + +#~ msgid "" +#~ "So, for example, even if the copyright to Shakespeare's works were " +#~ "perpetual, all that would have meant under the original meaning of the " +#~ "term was that no one could reprint Shakespeare's work without the " +#~ "permission of the Shakespeare estate. It would not have controlled " +#~ "anything, for example, about how the work could be performed, whether the " +#~ "work could be translated, or whether Kenneth Branagh would be allowed to " +#~ "make his films. The \\\"copy-right\\\" was only an exclusive right to " +#~ "print--no less, of course, but also no more." +#~ msgstr "" +#~ "så, for eksempel, selv om opphavsretten til Shakespeares verker var " +#~ "evigvarende, alle som ville ha betydd under den opprinnelige betydningen " +#~ "av begrepet var at ingen kan skrive Shakespeares arbeid uten tillatelse " +#~ "fra shakespeare-eiendom. det ville ikke ha kontrollert noe, for eksempel " +#~ "om hvordan arbeidet kan utføres, om arbeidet kunne oversettes eller om " +#~ "kenneth branagh ville være tillatt å gjøre hans filmer. \\\"kopi-rett\\\" " +#~ "var bare en eksklusiv rett til å skrive ut--ikke desto mindre, " +#~ "selvfølgelig, men også ikke mer." + +#~ msgid "" +#~ "Even that limited right was viewed with skepticism by the British. They " +#~ "had had a long and ugly experience with \\\"exclusive rights,\\\" " +#~ "especially \\\"exclusive rights\\\" granted by the Crown. The English had " +#~ "fought a civil war in part about the Crown's practice of handing out " +#~ "monopolies--especially monopolies for works that already existed. King " +#~ "Henry VIII granted a patent to print the Bible and a monopoly to Darcy to " +#~ "print playing cards. The English Parliament began to fight back against " +#~ "this power of the Crown. In 1656, it passed the Statute of Monopolies, " +#~ "limiting monopolies to patents for new inventions. And by 1710, " +#~ "Parliament was eager to deal with the growing monopoly in publishing." +#~ msgstr "" +#~ "selv det begrensede riktig ble sett med skepsis av britene. de hadde hatt " +#~ "en lang og stygg erfaring med \\\"eksklusive rettigheter,\\\" spesielt \\" +#~ "\"enerett\\\" gitt av kronen. engelske hadde kjempet en borgerkrig delvis " +#~ "om kronens praksisen med å levere ut monopoler--spesielt monopoler for " +#~ "arbeider som allerede fantes. Kong Henrik viii gitt et patent til å " +#~ "skrive ut Bibelen og en monopol til darcy til å skrive ut spillkort. det " +#~ "engelske parlamentet begynte å kjempe tilbake mot denne kraften i kronen. " +#~ "i 1656 gikk Vedtektene for monopoler, å begrense monopoler patenter for " +#~ "nye oppfinnelser. og ved 1710, parlamentet var ivrig etter å håndtere det " +#~ "voksende monopolet i publisering." + +#~ msgid "" +#~ "Thus the \\\"copy-right,\\\" when viewed as a monopoly right, was " +#~ "naturally viewed as a right that should be limited. (However convincing " +#~ "the claim that \\\"it's my property, and I should have it forever,\\\" " +#~ "try sounding convincing when uttering, \\\"It's my monopoly, and I should " +#~ "have it forever.\\\") The state would protect the exclusive right, but " +#~ "only so long as it benefited society. The British saw the harms from " +#~ "specialinterest favors; they passed a law to stop them." +#~ msgstr "" +#~ "Dermed ble \\\"kopi-rett,\\\" når de vises som et monopol høyre, " +#~ "naturligvis sett på som en rettighet som bør være begrenset. (men " +#~ "overbevisende påstanden om at \\\"det er min eiendom, og jeg skulle ha " +#~ "det evig,\\\" prøve lød overbevisende når ytre, \\\"det er min monopol, " +#~ "og jeg skulle ha det evig.\\\") staten ville beskytte eneretten, men bare " +#~ "så lenge det dratt av samfunnet. britene så skadene fra specialinterest " +#~ "favoriserer; de har vedtatt en lov for å stoppe dem." + +#~ msgid "" +#~ "Having failed in Parliament, the publishers turned to the courts in a " +#~ "series of cases. Their argument was simple and direct: The Statute of " +#~ "Anne gave authors certain protections through positive law, but those " +#~ "protections were not intended as replacements for the common law. " +#~ "Instead, they were intended simply to supplement the common law. Under " +#~ "common law, it was already wrong to take another person's creative \\" +#~ "\"property\\\" and use it without his permission. The Statute of Anne, " +#~ "the booksellers argued, didn't change that. Therefore, just because the " +#~ "protections of the Statute of Anne expired, that didn't mean the " +#~ "protections of the common law expired: Under the common law they had the " +#~ "right to ban the publication of a book, even if its Statute of Anne " +#~ "copyright had expired. This, they argued, was the only way to protect " +#~ "authors." +#~ msgstr "" +#~ "å ha mislyktes i parlamentet, slått utgivere til domstolene i en rekke " +#~ "tilfeller. deres argument var enkel og direkte: Vedtektene for anne ga " +#~ "forfattere visse beskyttelse gjennom positiv loven, men disse beskyttelse " +#~ "var ikke ment som erstatning for felles lov. i stedet, de var ment å " +#~ "supplere felles lov. under sedvanerett var det allerede galt å ta en " +#~ "annen persons kreative \\\"property\\\" og bruke den uten hans " +#~ "tillatelse. Vedtektene for anne, bokhandlere hevdet, endre ikke det. " +#~ "derfor bare fordi beskyttelse av Vedtektene for anne utløpt, det betyr " +#~ "ikke at beskyttelse av felles lov utløpt: under felles lov de hadde rett " +#~ "til å forby utgivelsen av en bok, selv om sine Vedtektene for anne " +#~ "copyright hadde gått ut. Dette, de hevdet, var den eneste måten å " +#~ "beskytte forfattere." + +#~ msgid "" +#~ "The London booksellers quickly brought suit to block \\\"piracy\\\" like " +#~ "Donaldson's. A number of actions were successful against the \\\"pirates," +#~ "\\\" the most important early victory being Millar v. Taylor." +#~ msgstr "" +#~ "london bokhandlerne brakt raskt dress å blokkere \\\"piratkopiering\\\" " +#~ "som donaldson's. en rekke handlinger var vellykket mot \\\"pirates,\\\" " +#~ "den viktigste tidlige seieren blir millar v. taylor." + +#~ msgid "" +#~ "Howard B. Abrams, \\\"The Historic Foundation of American Copyright Law: " +#~ "Exploding the Myth of Common Law Copyright,\\\" Wayne Law Review 29 " +#~ "(1983): 1152." +#~ msgstr "" +#~ "Howard b. abrams, \\\"historiske grunnlaget for amerikansk lov om " +#~ "opphavsrett: eksploderende myten om sedvanerett opphavsrett,\\\" wayne " +#~ "lov gå gjennom 29 (1983): 1152." + +#~ msgid "" +#~ "Astonishingly to modern lawyers, one of the greatest judges in English " +#~ "history, Lord Mansfield, agreed with the booksellers. Whatever protection " +#~ "the Statute of Anne gave booksellers, it did not, he held, extinguish any " +#~ "common law right. The question was whether the common law would protect " +#~ "the author against subsequent \\\"pirates.\\\" Mansfield's answer was " +#~ "yes: The common law would bar Taylor from reprinting Thomson's poem " +#~ "without Millar's permission. That common law rule thus effectively gave " +#~ "the booksellers a perpetual right to control the publication of any book " +#~ "assigned to them." +#~ msgstr "" +#~ "astonishingly til moderne advokater avtalt en av de største dommerne i " +#~ "engelsk historie, Herren mansfield, med bokhandlerne. Uansett beskyttelse " +#~ "Vedtektene for anne ga bokhandlere, det ikke, han holdt, Slukk " +#~ "sedvanerett rett. spørsmålet var om felles lov ville beskytte forfatteren " +#~ "mot etterfølgende \\\"pirater.\\\" mansfield svaret var Ja: felles lov " +#~ "ville stolpe taylor fra ettertrykk thomson's diktet uten millar's " +#~ "tillatelse. som regel sedvanerett dermed ga effektivt bokhandlerne " +#~ "evigvarende rett til å kontrollere publiseringen av noen bok som er " +#~ "tilordnet." + +#~ msgid "" +#~ "The House of Lords was an odd institution. Legal questions were presented " +#~ "to the House and voted upon first by the \\\"law lords,\\\" members of " +#~ "special legal distinction who functioned much like the Justices in our " +#~ "Supreme Court. Then, after the law lords voted, the House of Lords " +#~ "generally voted." +#~ msgstr "" +#~ "house of lords var en merkelig institusjon. juridiske spørsmål ble " +#~ "presentert for huset og kåret upon første av \\\"lov lords,\\\" medlemmer " +#~ "av spesielle rettslig skille mellom som fungerte mye som justiariusene i " +#~ "våre Høyesterett. deretter, etter at loven lords stemte, house of lords " +#~ "vanligvis stemte." + +#~ msgid "" +#~ "\\\"The public domain.\\\" Before the case of Donaldson v. Beckett, there " +#~ "was no clear idea of a public domain in England. Before 1774, there was a " +#~ "strong argument that common law copyrights were perpetual. After 1774, " +#~ "the public domain was born. For the first time in Anglo-American history, " +#~ "the legal control over creative works expired, and the greatest works in " +#~ "English history--including those of Shakespeare, Bacon, Milton, Johnson, " +#~ "and Bunyan--were free of legal restraint." +#~ msgstr "" +#~ "\\\"i public domain.\\\" før saken av donaldson v. beckett, det var ingen " +#~ "klar idé av et offentlig-domene i england. før 1774 var det en sterk " +#~ "argumentet at sedvanerett opphavsrett var evigvarende. etter 1774, ble " +#~ "public domain født. for første gang i anglo-amerikanske historikk, " +#~ "juridisk kontroll over kreative gjerninger utløpt, og den største verker " +#~ "i engelsk historie, inkludert de av shakespeare, bacon, milton, johnson " +#~ "og bunyan--var fri for juridiske selvbeherskelse." + +#~ msgid "" +#~ "\\\"Ruined\\\" is a bit of an exaggeration. But it is not an exaggeration " +#~ "to say that the change was profound. The decision of the House of Lords " +#~ "meant that the booksellers could no longer control how culture in England " +#~ "would grow and develop. Culture in England was thereafter free. Not in " +#~ "the sense that copyrights would not be respected, for of course, for a " +#~ "limited time after a work was published, the bookseller had an exclusive " +#~ "right to control the publication of that book. And not in the sense that " +#~ "books could be stolen, for even after a copyright expired, you still had " +#~ "to buy the book from someone. But free in the sense that the culture and " +#~ "its growth would no longer be controlled by a small group of publishers. " +#~ "As every free market does, this free market of free culture would grow as " +#~ "the consumers and producers chose. English culture would develop as the " +#~ "many English readers chose to let it develop-- chose in the books they " +#~ "bought and wrote; chose in the memes they repeated and endorsed. Chose in " +#~ "a competitive context, not a context in which the choices about what " +#~ "culture is available to people and how they get access to it are made by " +#~ "the few despite the wishes of the many." +#~ msgstr "" +#~ "\\\"ødela\\\" er litt av en overdrivelse. men det er ingen overdrivelse å " +#~ "si at endringen var dyp. vedtaket av house of lords betydde at " +#~ "bokhandlerne ikke lenger kan kontrollere hvordan kultur i england vil " +#~ "vokse og utvikle. kultur i england var etterpå gratis. for selvfølgelig, " +#~ "i en begrenset periode etter et arbeid ble utgitt, hadde den lokale " +#~ "Bokhandleren ikke i den forstand at opphavsretten ikke ville bli " +#~ "respektert, en eksklusiv rett til å kontrollere publiseringen av denne " +#~ "boken. og ikke i den forstand at bøker kan bli stjålet, for selv etter at " +#~ "opphavsretten utløpt, du fortsatt måtte kjøpe boka fra noen. men gratis i " +#~ "den forstand at kulturen og dens vekst, vil være styrt av en liten gruppe " +#~ "av utgivere ikke lenger. som hver fritt marked gjør, denne fritt marked " +#~ "for fri kultur ville vokse som forbrukere og produsenter valgte. engelsk " +#~ "kultur ville utvikle så mange engelsk lesere valgte å la det utvikle--" +#~ "valgte i bøker de kjøpte og skrev; valgte i memes de gjentas og godkjent. " +#~ "valgte i en konkurransedyktig sammenheng, ikke en sammenheng der valg om " +#~ "hva kultur er tilgjengelig for personer og hvordan de får tilgang til den " +#~ "er laget av få til tross for ønskene til mange." + +#~ msgid "" +#~ "Years later, when he finally got funding to complete the film, Else " +#~ "attempted to clear the rights for those few seconds of The Simpsons. For " +#~ "of course, those few seconds are copyrighted; and of course, to use " +#~ "copyrighted material you need the permission of the copyright owner, " +#~ "unless \\\"fair use\\\" or some other privilege applies." +#~ msgstr "" +#~ "år senere, når han til slutt fikk finansiering for å fullføre filmen, " +#~ "ellers forsøkte å tømme rettighetene for de noen sekunder av simpsons. " +#~ "for selvfølgelig, er de få sekunder opphavsrettsbeskyttet; og " +#~ "selvfølgelig, hvis du vil bruke opphavsrettsbeskyttet materiale du " +#~ "trenger tillatelse fra eieren av opphavsretten, med mindre \\\"fair use\\" +#~ "\" eller noen andre privilegium gjelder." + +#~ msgid "" +#~ "Then, as Else told me, \\\"two things happened. First we discovered . . . " +#~ "that Matt Groening doesn't own his own creation--or at least that someone " +#~ "[at Fox] believes he doesn't own his own creation.\\\" And second, Fox \\" +#~ "\"wanted ten thousand dollars as a licensing fee for us to use this four-" +#~ "point-five seconds of . . . entirely unsolicited Simpsons which was in " +#~ "the corner of the shot.\\\"" +#~ msgstr "" +#~ "deretter, som ellers fortalte meg, \\\"to ting har skjedd. første vi " +#~ "oppdaget... at matt groening ikke eier sin egen etablering-- eller i det " +#~ "minste at noen [på fox] mener han ikke eier sin egen etableringen. \\\"og " +#~ "andre fox\\\"ville ti tusen dollar som en lisenskostnader avgift for oss " +#~ "å bruke denne fire-punkt-fem sekunder... helt uønsket simpsons som var i " +#~ "hjørnet av skutt.\\\"" + +#~ msgid "" +#~ "Else was certain there was a mistake. He worked his way up to someone he " +#~ "thought was a vice president for licensing, Rebecca Herrera. He " +#~ "explained to her, \\\"There must be some mistake here. . . . We're " +#~ "asking for your educational rate on this.\\\" That was the educational " +#~ "rate, Herrera told Else. A day or so later, Else called again to confirm " +#~ "what he had been told." +#~ msgstr "" +#~ "Ellers var sikker på at det var en feil. han jobbet seg opp noen trodde " +#~ "han var vice president for lisensiering, rebecca herrera. Han forklarte " +#~ "henne, \\\"det må være noen feil her.... Vi ber om din pedagogisk rate på " +#~ "dette.\\\"det var pedagogisk ofte, herrera fortalte ellers. en dag eller " +#~ "så senere, ellers kalles på nytt for å bekrefte hva han hadde blitt " +#~ "fortalt." + +#~ msgid "" +#~ "\\\"I wanted to make sure I had my facts straight,\\\" he told me. \\" +#~ "\"Yes, you have your facts straight,\\\" she said. It would cost $10,000 " +#~ "to use the clip of The Simpsons in the corner of a shot in a documentary " +#~ "film about Wagner's Ring Cycle. And then, astonishingly, Herrera told " +#~ "Else, \\\"And if you quote me, I'll turn you over to our attorneys.\\\" " +#~ "As an assistant to Herrera told Else later on, \\\"They don't give a " +#~ "shit. They just want the money.\\\"" +#~ msgstr "" +#~ "\\\"jeg ønsket å sikre at jeg hadde min fakta rett,\\\" sa han til meg. \\" +#~ "\"Ja, du har din fakta rett,\\\" sa hun. det ville koste $ 10 000 for å " +#~ "bruke klippet av simpsons i hjørnet av et skudd i en dokumentarfilm om " +#~ "wagner's ring syklus. og deretter astonishingly, herrera fortalte annet \\" +#~ "\"og hvis du siterer meg, vil jeg slå deg til våre advokater.\\\" som " +#~ "assistent for herrera fortalte andre senere, \\\"de ikke gir faen. de vil " +#~ "bare penger.\\\"" + +#~ msgid "" +#~ "For example, \\\"public performance\\\" is a use of The Simpsons that the " +#~ "copyright owner gets to control. If you take a selection of favorite " +#~ "episodes, rent a movie theater, and charge for tickets to come see \\\"My " +#~ "Favorite Simpsons,\\\" then you need to get permission from the copyright " +#~ "owner. And the copyright owner (rightly, in my view) can charge whatever " +#~ "she wants--$10 or $1,000,000. That's her right, as set by the law." +#~ msgstr "" +#~ "\\\"offentlig fremføring\\\" er for eksempel en bruk av simpsons blir " +#~ "eieren av opphavsretten til kontrollen. Hvis du tar et utvalg av favoritt " +#~ "episoder, leie en kino, og betalt for billetter til å komme se \\\"min " +#~ "favoritt simpsons\\\", må du få tillatelse fra eieren av opphavsretten. " +#~ "og rettighetsinnehaveren (med rette, i min mening) kan lade hva hun " +#~ "ønsker--$ 10 eller $1,000,000. Det er hennes høyre, som er angitt av " +#~ "loven." + +#~ msgid "" +#~ "For an excellent argument that such use is \\\"fair use,\\\" but that " +#~ "lawyers don't permit recognition that it is \\\"fair use,\\\" see Richard " +#~ "A. Posner with William F. Patry, \\\"Fair Use and Statutory Reform in the " +#~ "Wake of Eldred \\\" (draft on file with author), University of Chicago " +#~ "Law School, 5 August 2003." +#~ msgstr "" +#~ "Hvis et utmerket argument at slik bruk er \\\"rettferdig bruk\\\", men at " +#~ "jurister ikke tillater anerkjennelse som det er \\\"rettferdig bruk,\\\" " +#~ "se richard a. posner med william f. patry, \\\"rettferdig bruk og " +#~ "lovbestemte reform i kjølvannet av eldred\\\" (utkast på filen med " +#~ "forfatteren), university of chicago law school, 5 august 2003." + +#~ msgid "" +#~ "So I asked Else why he didn't just rely upon \\\"fair use.\\\" Here's his " +#~ "reply:" +#~ msgstr "" +#~ "så jeg spurte er hvorfor han ikke bare stole på \\\"rettferdig bruk.\\\" " +#~ "her annet hans svar:" + +#~ msgid "" +#~ "The Simpsons fiasco was for me a great lesson in the gulf between what " +#~ "lawyers find irrelevant in some abstract sense, and what is crushingly " +#~ "relevant in practice to those of us actually trying to make and broadcast " +#~ "documentaries. I never had any doubt that it was \\\"clearly fair use\\\" " +#~ "in an absolute legal sense. But I couldn't rely on the concept in any " +#~ "concrete way. Here's why:" +#~ msgstr "" +#~ "simpsons fiasco var for meg en fin leksjon i avgrunnen mellom hvilket " +#~ "advokater finne irrelevant i noen abstrakt forstand, og hva er crushingly " +#~ "relevant i praksis for de av oss faktisk prøver å gjøre og kringkaste " +#~ "dokumentarer. Jeg har aldri hatt noen tvil om at det var \\\"klart fair " +#~ "use\\\" i en absolutt juridisk forstand. men jeg kunne ikke stole på " +#~ "konseptet på noen konkret måte. Her er hvorfor:" + +#~ msgid "" +#~ "Before our films can be broadcast, the network requires that we buy " +#~ "Errors and Omissions insurance. The carriers require a detailed \\" +#~ "\"visual cue sheet\\\" listing the source and licensing status of each " +#~ "shot in the film. They take a dim view of \\\"fair use,\\\" and a claim " +#~ "of \\\"fair use\\\" can grind the application process to a halt." +#~ msgstr "" +#~ "før vår filmer som kan sendes, krever nettverket at vi kjøper feil og " +#~ "utelatelser forsikring. operatører krever en detaljert \\\"visual cue ark" +#~ "\\\" liste over kilden og lisensiering status for hver skudd i filmen. de " +#~ "tar en dim visning av \\\"fair use\\\", og et krav om \\\"fair use\\\" " +#~ "kan slipe søknadsprosessen til å stoppe." + +#~ msgid "" +#~ "I did, in fact, speak with one of your colleagues at Stanford Law " +#~ "School . . . who confirmed that it was fair use. He also confirmed that " +#~ "Fox would \\\"depose and litigate you to within an inch of your life,\\\" " +#~ "regardless of the merits of my claim. He made clear that it would boil " +#~ "down to who had the bigger legal department and the deeper pockets, me or " +#~ "them." +#~ msgstr "" +#~ "Jeg gjorde, faktisk snakke med en av dine kolleger ved stanford law " +#~ "school... som bekreftet at det var rimelig bruk. han bekreftet også at " +#~ "fox ville \\\"avsette og litigate du innenfor en tomme av livet,\\\" " +#~ "uavhengig av fordelene ved mitt krav. Han gjorde det klart at det ville " +#~ "koker ned til hvem som hadde større juridiske avdelingen og dypere " +#~ "lommebøker, meg eller dem." + +#~ msgid "" +#~ "Then Alben and his team decided to include actual film clips. \\\"Our " +#~ "goal was that we were going to have a clip from every one of Eastwood's " +#~ "films,\\\" Alben told me. It was here that the problem arose. \\\"No one " +#~ "had ever really done this before,\\\" Alben explained. \\\"No one had " +#~ "ever tried to do this in the context of an artistic look at an actor's " +#~ "career.\\\"" +#~ msgstr "" +#~ "deretter alben og hans team besluttet å inkludere faktiske film klipp. \\" +#~ "\"vårt mål var at vi skulle ha et klipp fra hver og en av Eastwoods film," +#~ "\\\" fortalte alben meg. Det var her at problemet oppsto. \\\"ingen hadde " +#~ "noensinne virkelig gjort dette før,\\\" forklarte alben. \\\"ingen hadde " +#~ "noen gang prøvd å gjøre dette i sammenheng med en kunstnerisk titt på en " +#~ "skuespiller-karriere.\\\"" + +#~ msgid "" +#~ "Alben brought the idea to Michael Slade, the CEO of Starwave. Slade " +#~ "asked, \\\"Well, what will it take?\\\"" +#~ msgstr "" +#~ "Alben brakt ideen til michael slade, ceo i starwave. Slade som ble spurt, " +#~ "\\\"Vel, hva vil det ta?\\\"" + +#~ msgid "" +#~ "Technically, the rights that Alben had to clear were mainly those of " +#~ "publicity--rights an artist has to control the commercial exploitation of " +#~ "his image. But these rights, too, burden \\\"Rip, Mix, Burn\\\" " +#~ "creativity, as this chapter evinces." +#~ msgstr "" +#~ "teknisk, rettighetene som alben hadde å fjerne var hovedsakelig de " +#~ "publisitet--rettigheter kunstner har til å kontrollere kommersiell " +#~ "utnyttelse av hans bilde. men disse rettighetene også, belaster \\\"rip, " +#~ "mikse, brenne\\\" kreativitet, som evinces i dette kapitlet." + +#~ msgid "" +#~ "So we very mechanically went about looking up the film clips. We made " +#~ "some artistic decisions about what film clips to include--of course we " +#~ "were going to use the \\\"Make my day\\\" clip from Dirty Harry. But you " +#~ "then need to get the guy on the ground who's wiggling under the gun and " +#~ "you need to get his permission. And then you have to decide what you are " +#~ "going to pay him." +#~ msgstr "" +#~ "så vi gikk veldig mekanisk about looking up film klipp. Vi har gjort noen " +#~ "kunstneriske beslutninger om hva film klipp for å inkludere--selvfølgelig " +#~ "vi skulle bruke \\\"gjøre dagen min\\\" utklippet fra dirty harry. men du " +#~ "må få fyren på bakken som er vrir under pistol og du trenger for å få sin " +#~ "tillatelse. og deretter må du bestemme hva du skal betale ham." + +#~ msgid "" +#~ "Some actors were glad to help--Donald Sutherland, for example, followed " +#~ "up himself to be sure that the rights had been cleared. Others were " +#~ "dumbfounded at their good fortune. Alben would ask, \\\"Hey, can I pay " +#~ "you $600 or maybe if you were in two films, you know, $1,200?\\\" And " +#~ "they would say, \\\"Are you for real? Hey, I'd love to get $1,200.\\\" " +#~ "And some of course were a bit difficult (estranged ex-wives, in " +#~ "particular). But eventually, Alben and his team had cleared the rights to " +#~ "this retrospective CD-ROM on Clint Eastwood's career." +#~ msgstr "" +#~ "enkelte aktører var glad for å hjelpe--donald sutherland, for eksempel " +#~ "fulgt opp seg å være sikker på at rettigheter hadde blitt fjernet. andre " +#~ "var målløs på deres hell. Alben vil spørre: \\\"Hei, kan jeg betale $600 " +#~ "eller kanskje Hvis du var i to filmer, du vet, $1200?\\\" og de ville si, " +#~ "\\\"er du for real? Hei, jeg ville elske å få $1200. \\\"og noen " +#~ "selvfølgelig var litt vanskelig (fraseparerte ex-kone, spesielt). men til " +#~ "slutt, alben og teamet hans hadde klarert rettighetene til denne " +#~ "retrospektiv CD-ROMen på clint eastwood karriere." + +#~ msgid "" +#~ "It was one year later--\\\"and even then we weren't sure whether we were " +#~ "totally in the clear.\\\"" +#~ msgstr "" +#~ "Det var ett år senere, \\\"og selv da vi var ikke sikker på om vi var " +#~ "helt i klartekst.\\\"" + +#~ msgid "" +#~ "Everyone thought it would be too hard. Everyone just threw up their hands " +#~ "and said, \\\"Oh, my gosh, a film, it's so many copyrights, there's the " +#~ "music, there's the screenplay, there's the director, there's the actors.\\" +#~ "\" But we just broke it down. We just put it into its constituent parts " +#~ "and said, \\\"Okay, there's this many actors, this many directors, . . . " +#~ "this many musicians,\\\" and we just went at it very systematically and " +#~ "cleared the rights." +#~ msgstr "" +#~ "alle trodde det ville være for hardt. alle bare kastet opp sine hender og " +#~ "sa, \\\"oh, mine gosh, en film, det er så mange opphavsrettigheter, er " +#~ "det musikken, det er manuskriptet, det er direktør, det er skuespillere.\\" +#~ "\" men vi bare brøt det ned. vi bare sette det inn i sin bærende deler og " +#~ "sa: \\\"OK, det er så mange aktører, så mange styremedlemmer... så mange " +#~ "musikere,\\\" og vi bare gikk på den svært systematisk og fjernet " +#~ "rettighetene." + +#~ msgid "" +#~ "For, as he acknowledged, \\\"very few . . . have the time and resources, " +#~ "and the will to do this,\\\" and thus, very few such works would ever be " +#~ "made. Does it make sense, I asked him, from the standpoint of what " +#~ "anybody really thought they were ever giving rights for originally, that " +#~ "you would have to go clear rights for these kinds of clips?" +#~ msgstr "" +#~ "for, som han erkjente, \\\"svært få... har tid og ressurser og viljen til " +#~ "å gjøre dette,\\\" og dermed svært få slike arbeider noensinne vil bli " +#~ "gjort. betyr det fornuftig, jeg spurte ham, fra standpunktet av hva noen " +#~ "trodde de var noensinne å gi rettigheter for opprinnelig, som du må gå " +#~ "klart rettigheter for disse typer utklipp?" + +#~ msgid "" +#~ "Absolutely. I think that if there were some fair-licensing mechanism--" +#~ "where you weren't subject to hold-ups and you weren't subject to " +#~ "estranged former spouses--you'd see a lot more of this work, because it " +#~ "wouldn't be so daunting to try to put together a retrospective of " +#~ "someone's career and meaningfully illustrate it with lots of media from " +#~ "that person's career. You'd build in a cost as the producer of one of " +#~ "these things. You'd build in a cost of paying X dollars to the talent " +#~ "that performed. But it would be a known cost. That's the thing that trips " +#~ "everybody up and makes this kind of product hard to get off the ground. " +#~ "If you knew I have a hundred minutes of film in this product and it's " +#~ "going to cost me X, then you build your budget around it, and you can get " +#~ "investments and everything else that you need to produce it. But if you " +#~ "say, \\\"Oh, I want a hundred minutes of something and I have no idea " +#~ "what it's going to cost me, and a certain number of people are going to " +#~ "hold me up for money,\\\" then it becomes difficult to put one of these " +#~ "things together." +#~ msgstr "" +#~ "absolutt. Jeg tror at hvis det var noen fair-lisensiering mekanisme--der " +#~ "du ikke var underlagt hold-ups, og du ikke var underlagt fraseparerte " +#~ "tidligere ektefeller--du ville se mye mer av dette arbeidet, fordi det " +#~ "ikke ville være så skremmende å prøve å sette sammen en retrospektiv av " +#~ "noen er karriere og meningsfull måte illustrere det med mange medier fra " +#~ "personens karriere. du vil bygge inn en kostnad som produsent av en av " +#~ "disse tingene. du vil bygge inn en kostnadene til betale x dollar til " +#~ "talent som utføres. men det ville være en kjent kostnad. Det er ting som " +#~ "turer alle opp og gjør denne typen produkt som er vanskelig å få av " +#~ "bakken. Hvis du visste at jeg har en hundre minutter med film i dette " +#~ "produktet og det kommer til å koste meg x, deretter du bygge budsjettet " +#~ "rundt det, og du kan få investeringer og alt annet du vil produsere den. " +#~ "men hvis du sier, \\\"oh, jeg ønsker en hundre minutter av noe jeg aner " +#~ "ikke hva det vil koste meg og et visst antall mennesker kommer til å " +#~ "holde meg opp for penger\\\", og det blir vanskeligere å sette en av " +#~ "disse tingene sammen." + +#~ msgid "" +#~ "Alben worked for a big company. His company was backed by some of the " +#~ "richest investors in the world. He therefore had authority and access " +#~ "that the average Web designer would not have. So if it took him a year, " +#~ "how long would it take someone else? And how much creativity is never " +#~ "made just because the costs of clearing the rights are so high? These " +#~ "costs are the burdens of a kind of regulation. Put on a Republican hat " +#~ "for a moment, and get angry for a bit. The government defines the scope " +#~ "of these rights, and the scope defined determines how much it's going to " +#~ "cost to negotiate them. (Remember the idea that land runs to the heavens, " +#~ "and imagine the pilot purchasing flythrough rights as he negotiates to " +#~ "fly from Los Angeles to San Francisco.) These rights might well have " +#~ "once made sense; but as circumstances change, they make no sense at all. " +#~ "Or at least, a well-trained, regulationminimizing Republican should look " +#~ "at the rights and ask, \\\"Does this still make sense?\\\"" +#~ msgstr "" +#~ "Alben jobbet for et stort selskap. hans selskap var støttet av noen av de " +#~ "rikeste investorene i verden. derfor hadde han myndighet og pålogging som " +#~ "gjennomsnittlig webdesigner ikke ville. så hvis det tok ham et år, hvor " +#~ "lenge vil det ta noen andre? og hvor mye kreativitet er aldri gjort bare " +#~ "fordi kostnadene ved å fjerne rettigheter er så høy? disse kostnadene er " +#~ "byrdene av en slags regulering. Sett på en republikanske lue for et " +#~ "øyeblikk, og bli sint for litt. regjeringen definerer omfanget av disse " +#~ "rettighetene, og omfanget definert bestemmer hvor mye det vil koste å " +#~ "forhandle dem. (Husk at ideen om at landet kjører til himmelen, og Tenk " +#~ "piloten kjøper flythrough rettigheter idet han forhandler om å fly fra " +#~ "los angeles til san francisco.) disse rettighetene ha også en gang gjort " +#~ "fornuftig; men som omstendigheter endring, de gir ingen mening i det hele " +#~ "tatt. eller på minst, en frisk-utdannet, regulationminimizing " +#~ "republikanske bør se på rettighetene og spør, \\\"betyr dette fortsatt " +#~ "fornuftig?\\\"" + +#~ msgid "" +#~ "When the lights came up, I looked over to my copanelist, David Nimmer, " +#~ "perhaps the leading copyright scholar and practitioner in the nation. He " +#~ "had an astonished look on his face, as he peered across the room of over " +#~ "250 well-entertained judges. Taking an ominous tone, he began his talk " +#~ "with a question: \\\"Do you know how many federal laws were just violated " +#~ "in this room?\\\"" +#~ msgstr "" +#~ "Når lysene kom opp, kikket jeg over til min copanelist, david nimmer, " +#~ "kanskje den ledende opphavsrett lærd og practitioner i nasjonen. Han " +#~ "hadde en forbauset se på ansiktet hans, som han kikket ned på tvers av " +#~ "rommet med over 250 well-entertained dommere. tar en illevarslende tone, " +#~ "han begynte sin tale med et spørsmål: \\\"vet du hvor mange føderale " +#~ "lover ble bare brutt i dette rommet?\\\"" + +#~ msgid "" +#~ "All of these creations are technically illegal. Even if the creators " +#~ "wanted to be \\\"legal,\\\" the cost of complying with the law is " +#~ "impossibly high. Therefore, for the law-abiding sorts, a wealth of " +#~ "creativity is never made. And for that part that is made, if it doesn't " +#~ "follow the clearance rules, it doesn't get released." +#~ msgstr "" +#~ "alle disse kreasjoner er teknisk ulovlig. Selv om skaperne ønsket å være " +#~ "\\\"lovlig\\\", er kostnadene for å overholde loven impossibly høy. " +#~ "Derfor lovlydige sorteringer, er et vell av kreativitet aldri gjort. og " +#~ "for den aktuelle delen er gjort, hvis det ikke følger reglene for " +#~ "klaring, det ikke komme ut." + +#~ msgid "" +#~ "To some, these stories suggest a solution: Let's alter the mix of rights " +#~ "so that people are free to build upon our culture. Free to add or mix as " +#~ "they see fit. We could even make this change without necessarily " +#~ "requiring that the \\\"free\\\" use be free as in \\\"free beer.\\\" " +#~ "Instead, the system could simply make it easy for follow-on creators to " +#~ "compensate artists without requiring an army of lawyers to come along: a " +#~ "rule, for example, that says \\\"the royalty owed the copyright owner of " +#~ "an unregistered work for the derivative reuse of his work will be a flat " +#~ "1 percent of net revenues, to be held in escrow for the copyright owner.\\" +#~ "\" Under this rule, the copyright owner could benefit from some royalty, " +#~ "but he would not have the benefit of a full property right (meaning the " +#~ "right to name his own price) unless he registers the work." +#~ msgstr "" +#~ "til noen, disse historiene foreslå en løsning: La oss endre blanding av " +#~ "rettigheter, slik at folk er gratis å bygge på vår kultur. gratis å legge " +#~ "til eller blande som de ønsker. Vi kan selv foreta denne endringen uten " +#~ "nødvendigvis som krever at \\\"gratis\\\" Bruk være fri som i «gratis øl." +#~ "\\\"i stedet, systemet kan bare gjør det enkelt for etterarbeid skaperne " +#~ "å kompensere kunstnere uten å kreve en hær av advokater framover: regel, " +#~ "for eksempel som sier\\\"royalty skyldte opphavsrettighetene til en " +#~ "uregistrert arbeid for avledede gjenbruk av hans arbeid vil være en flat " +#~ "1 prosent av netto inntekterskal holdes i escrow for opphavsrett eieren. " +#~ "\\\"under denne regelen, eieren av opphavsretten som kunne ha nytte av " +#~ "noen royalty, men han ville ikke ha nytte av en full immaterielle " +#~ "rettigheter (som betyr retten til å gi navn til sin egen pris) med mindre " +#~ "han registrerer arbeidet." + +#~ msgid "" +#~ "In February 2003, DreamWorks studios announced an agreement with Mike " +#~ "Myers, the comic genius of Saturday Night Live and Austin Powers. " +#~ "According to the announcement, Myers and Dream-Works would work together " +#~ "to form a \\\"unique filmmaking pact.\\\" Under the agreement, DreamWorks " +#~ "\\\"will acquire the rights to existing motion picture hits and classics, " +#~ "write new storylines and--with the use of stateof-the-art digital " +#~ "technology--insert Myers and other actors into the film, thereby creating " +#~ "an entirely new piece of entertainment.\\\"" +#~ msgstr "" +#~ "i februar 2003 annonsert dreamworks studios en avtale med mike myers, " +#~ "comic geni av lørdag natt live og austin powers. Ifølge utlysningen, " +#~ "myers og drøm-arbeider ville arbeide sammen for å danne en \\\"unik " +#~ "filmskapning pakten.\\\" under avtalen, dreamworks – vil opparbeide seg " +#~ "privatrettslige rettigheter til eksisterende filmselskaper treff og " +#~ "klassikere, skrive nye storylines og--med bruk av stateof-the-art digital " +#~ "teknologi--sett myers og andre aktører i filmen, og dermed skape et helt " +#~ "nytt stykke underholdning." + +#~ msgid "" +#~ "The announcement called this \\\"film sampling.\\\" As Myers explained, \\" +#~ "\"Film Sampling is an exciting way to put an original spin on existing " +#~ "films and allow audiences to see old movies in a new light. Rap artists " +#~ "have been doing this for years with music and now we are able to take " +#~ "that same concept and apply it to film.\\\" Steven Spielberg is quoted as " +#~ "saying, \\\"If anyone can create a way to bring old films to new " +#~ "audiences, it is Mike.\\\"" +#~ msgstr "" +#~ "utlysningen kalles denne \\\"film prøvetaking.\\\" som myers forklart, \\" +#~ "\"film prøvetaking er en spennende måte å sette en opprinnelige spinn på " +#~ "eksisterende filmer og lar publikum å se gamle filmer i et nytt lys. rap " +#~ "artister har gjort dette i årevis med musikk, og vi nå er i stand til å " +#~ "ta det samme konseptet og bruke den på film.\\\"steven spielberg er " +#~ "sitert som sier,\\\"Hvis noen kan opprette en måte å bringe gamle filmer " +#~ "til nye målgrupper, det er mike\\\"." + +#~ msgid "" +#~ "This privilege becomes reserved for two sorts of reasons. The first " +#~ "continues the story of the last chapter: the vagueness of \\\"fair use.\\" +#~ "\" Much of \\\"sampling\\\" should be considered \\\"fair use.\\\" But " +#~ "few would rely upon so weak a doctrine to create. That leads to the " +#~ "second reason that the privilege is reserved for the few: The costs of " +#~ "negotiating the legal rights for the creative reuse of content are " +#~ "astronomically high. These costs mirror the costs with fair use: You " +#~ "either pay a lawyer to defend your fair use rights or pay a lawyer to " +#~ "track down permissions so you don't have to rely upon fair use rights. " +#~ "Either way, the creative process is a process of paying lawyers--again a " +#~ "privilege, or perhaps a curse, reserved for the few." +#~ msgstr "" +#~ "dette privilegiet blir reservert for to slags grunner. først fortsetter " +#~ "historien om det siste kapitlet: vagueness av \\\"rettferdig bruk.\\\" " +#~ "mye av \\\"prøvetaking\\\" bør bli vurdert \\\"rettferdig bruk.\\\", men " +#~ "få vil stole på så svak en doktrine å opprette. som fører til den andre " +#~ "grunnen at privilegiet er forbeholdt få: kostnadene ved forhandling " +#~ "juridiske rettighetene for kreative gjenbruk av innhold er astronomically " +#~ "høy. disse kostnadene speile kostnadene med rettferdig bruk: du enten " +#~ "betale en advokat for å forsvare fair use-rettigheter eller betale en " +#~ "advokat for å spore opp tillatelser, så du trenger ikke å stole på fair " +#~ "use rettigheter. Uansett, den kreative prosessen er en prosess med å " +#~ "betale advokater--igjen en rettighet, eller kanskje en forbannelse, " +#~ "forbeholdt få." + +#~ msgid "" +#~ "In April 1996, millions of \\\"bots\\\"--computer codes designed to \\" +#~ "\"spider,\\\" or automatically search the Internet and copy content--" +#~ "began running across the Net. Page by page, these bots copied Internet-" +#~ "based information onto a small set of computers located in a basement in " +#~ "San Francisco's Presidio. Once the bots finished the whole of the " +#~ "Internet, they started again. Over and over again, once every two months, " +#~ "these bits of code took copies of the Internet and stored them." +#~ msgstr "" +#~ "i april 1996 fikk begynte millioner av \\\"bots\\\"--datakode utformet " +#~ "til \\\"edderkopp\\\", eller automatisk søke Internett og kopiere " +#~ "innholdet--kjører over nettet. side for side, disse botene kopiert " +#~ "Internett-basert informasjon på et lite sett med datamaskiner som er " +#~ "plassert i en kjeller i san Franciscos presidio. Når roboter ferdig med " +#~ "hele Internett, startet de igjen. igjen og igjen, en gang enhver to " +#~ "måneder, disse biter av koden tok kopier av Internett og lagret dem." + +#~ msgid "" +#~ "By October 2001, the bots had collected more than five years of copies. " +#~ "And at a small announcement in Berkeley, California, the archive that " +#~ "these copies created, the Internet Archive, was opened to the world. " +#~ "Using a technology called \\\"the Way Back Machine,\\\" you could enter a " +#~ "Web page, and see all of its copies going back to 1996, as well as when " +#~ "those pages changed." +#~ msgstr "" +#~ "av oktober 2001, roboter hadde samlet inn mer enn fem år av Kopier. og på " +#~ "en liten pressemelding i berkeley, california, arkivet som disse kopiene " +#~ "opprettet internet archive, ble åpnet til verden. bruker en teknologi som " +#~ "kalles \\\"vei tilbake maskinen\\\", kan du angi en web-side, og se alle " +#~ "dens Kopier gå tilbake til 1996, og når disse sidene endres." + +#~ msgid "" +#~ "The temptations remain, however. Brewster Kahle reports that the White " +#~ "House changes its own press releases without notice. A May 13, 2003, " +#~ "press release stated, \\\"Combat Operations in Iraq Have Ended.\\\" That " +#~ "was later changed, without notice, to \\\"Major Combat Operations in Iraq " +#~ "Have Ended.\\\" E-mail from Brewster Kahle, 1 December 2003." +#~ msgstr "" +#~ "fristelsene fortsatt, men. Brewster kahle rapporterer at det hvite hus " +#~ "endrer sin egen pressemeldinger uten varsel. en mai 13, 2003, " +#~ "pressemelding uttalt, \\\"stridende operasjoner i Irak er avsluttet.\\\" " +#~ "som ble senere endret, uten varsel, \\\"store stridende operasjoner i " +#~ "Irak er avsluttet.\\\" e-post fra brewster kahle, 1 desember 2003." + +#~ msgid "" +#~ "The Way Back Machine is the largest archive of human knowledge in human " +#~ "history. At the end of 2002, it held \\\"two hundred and thirty terabytes " +#~ "of material\\\"--and was \\\"ten times larger than the Library of " +#~ "Congress.\\\" And this was just the first of the archives that Kahle set " +#~ "out to build. In addition to the Internet Archive, Kahle has been " +#~ "constructing the Television Archive. Television, it turns out, is even " +#~ "more ephemeral than the Internet. While much of twentieth-century culture " +#~ "was constructed through television, only a tiny proportion of that " +#~ "culture is available for anyone to see today. Three hours of news are " +#~ "recorded each evening by Vanderbilt University--thanks to a specific " +#~ "exemption in the copyright law. That content is indexed, and is available " +#~ "to scholars for a very low fee. \\\"But other than that, [television] is " +#~ "almost unavailable,\\\" Kahle told me. \\\"If you were Barbara Walters " +#~ "you could get access to [the archives], but if you are just a graduate " +#~ "student?\\\" As Kahle put it," +#~ msgstr "" +#~ "vei tilbake er maskinen bortimot komplett arkiv over menneskelig kunnskap " +#~ "i menneskehetens historie. på slutten av 2002, det holdt \\\"to hundre og " +#~ "tredve terabyte materiale\\\"-- og var \\\"ti ganger større enn the " +#~ "library of congress.\\\" og dette var bare først av arkivene at kahle er " +#~ "fastsatt til å bygge. i tillegg til internet archive, har kahle vært " +#~ "konstruere TV-arkivet. TV, det viser seg, er enda mer flyktig enn " +#~ "Internett. mens mye av 1900-tallet kultur ble bygget opp via TV, er bare " +#~ "en liten andel av denne kulturen tilgjengelig for alle å se i dag. tre " +#~ "timer med nyheter registreres hver kveld av vanderbilt university--takket " +#~ "være en bestemt fritak i lov om opphavsrett. innholdet er indeksert, og " +#~ "er tilgjengelig for forskere for en svært lav avgift. \\\"men annet enn " +#~ "at, [TV] er nesten utilgjengelig,\\\" fortalte kahle meg. \\\"Hvis du var " +#~ "barbara walters du kan få tilgang til [arkivene], men hvis du er bare en " +#~ "utdannet student?\\\" som kahle sa," + +#~ msgid "" +#~ "The same is generally true about television. Television broadcasts were " +#~ "originally not copyrighted--there was no way to capture the broadcasts, " +#~ "so there was no fear of \\\"theft.\\\" But as technology enabled " +#~ "capturing, broadcasters relied increasingly upon the law. The law " +#~ "required they make a copy of each broadcast for the work to be \\" +#~ "\"copyrighted.\\\" But those copies were simply kept by the broadcasters. " +#~ "No library had any right to them; the government didn't demand them. The " +#~ "content of this part of American culture is practically invisible to " +#~ "anyone who would look." +#~ msgstr "" +#~ "det samme gjelder generelt om TV. fjernsynssendinger var opprinnelig ikke " +#~ "opphavsrettsbeskyttet--det var ikke mulig å fange sendinger, så det var " +#~ "ingen frykt for \\\"tyveri.\\\", men som teknologi aktivert fanger, " +#~ "broadcasters grunnlag i økende grad loven. loven kreves de lage en kopi " +#~ "av hver kringkastingen for arbeidet med å være \\\"opphavsrettsbeskyttet." +#~ "\\\", men kopiene var bare holdt av broadcasters. Ingen biblioteket hadde " +#~ "rett til dem. regjeringen kreve ikke dem. innholdet i denne delen av den " +#~ "amerikanske kulturen er praktisk talt usynlige for alle som ville se." + +#~ msgid "" +#~ "Kahle had the same idea with film. Working with Rick Prelinger, whose " +#~ "archive of film includes close to 45,000 \\\"ephemeral films\\\" (meaning " +#~ "films other than Hollywood movies, films that were never copyrighted), " +#~ "Kahle established the Movie Archive. Prelinger let Kahle digitize 1,300 " +#~ "films in this archive and post those films on the Internet to be " +#~ "downloaded for free. Prelinger's is a for-profit company. It sells copies " +#~ "of these films as stock footage. What he has discovered is that after he " +#~ "made a significant chunk available for free, his stock footage sales went " +#~ "up dramatically. People could easily find the material they wanted to " +#~ "use. Some downloaded that material and made films on their own. Others " +#~ "purchased copies to enable other films to be made. Either way, the " +#~ "archive enabled access to this important part of our culture. Want to " +#~ "see a copy of the \\\"Duck and Cover\\\" film that instructed children " +#~ "how to save themselves in the middle of nuclear attack? Go to archive." +#~ "org, and you can download the film in a few minutes--for free." +#~ msgstr "" +#~ "Kahle hatt samme idé med film. arbeide med rick prelinger, som har arkiv " +#~ "av filmen inkluderer nær 45.000 \\\"flyktige filmer\\\" (det vil si " +#~ "filmer enn hollywood filmer, filmer som ble aldri opphavsrettsbeskyttet), " +#~ "kahle etablert film arkiv. prelinger la kahle digitalisere 1300 filmer i " +#~ "denne arkiv og legge disse filmene på Internett kan lastes ned gratis. " +#~ "prelinger's er et for-profit selskap. Det selger kopier av disse filmene " +#~ "som aksjemarkedet opptakene. hva han har oppdaget er at etter at han " +#~ "gjorde en betydelig del tilgjengelig gratis, hans stock opptakene salget " +#~ "gikk dramatisk. folk kan lett finne materialet de ønsket å bruke. noen " +#~ "dataoverførte materialet og fremstilt filmer på egenhånd. andre kjøpt " +#~ "Kopier Hvis du vil aktivere andre filmer skal gjøres. Uansett, arkivet " +#~ "aktivert tilgang til denne viktige delen av vår kultur. vil du se en kopi " +#~ "av filmen \\\"duck og dekke\\\" som instruert barn hvordan lagre seg midt " +#~ "i kjernefysisk angrep? gå til archive.org, og du kan laste ned filmen i " +#~ "noen minutter--gratis." + +#~ msgid "" +#~ "For here is an idea that we should more clearly recognize. Every bit of " +#~ "creative property goes through different \\\"lives.\\\" In its first " +#~ "life, if the creator is lucky, the content is sold. In such cases the " +#~ "commercial market is successful for the creator. The vast majority of " +#~ "creative property doesn't enjoy such success, but some clearly does. For " +#~ "that content, commercial life is extremely important. Without this " +#~ "commercial market, there would be, many argue, much less creativity." +#~ msgstr "" +#~ "Her er en idé som vi skal klarere gjenkjenne. hver bit av kreative " +#~ "egenskapen går gjennom ulike \\\"liv.\\\" i sin første liv, hvis skaperen " +#~ "er heldig, innholdet er solgt. i slike tilfeller er det kommersielle " +#~ "markedet vellykket for skaperen. det store flertallet av creative-" +#~ "egenskapen nyte ikke slik suksess, men noen tydelig gjør. for innholdet " +#~ "er kommersiell levetid ekstremt viktig. uten denne reklamen marked, ville " +#~ "det være, mange hevder, mye mindre kreativitet." + +#~ msgid "" +#~ "Dave Barns, \\\"Fledgling Career in Antique Books: Woodstock Landlord, " +#~ "Bar Owner Starts a New Chapter by Adopting Business,\\\" Chicago Tribune, " +#~ "5 September 1997, at Metro Lake 1L. Of books published between 1927 and " +#~ "1946, only 2.2 percent were in print in 2002. R. Anthony Reese, \\\"The " +#~ "First Sale Doctrine in the Era of Digital Networks,\\\" Boston College " +#~ "Law Review 44 (2003): 593 n. 51." +#~ msgstr "" +#~ "Dave barns, \\\"fledgling karriere i antikke bøker: woodstock utleier, " +#~ "bar eier starter et nytt kapittel ved å innta virksomhet,\\\" chicago " +#~ "tribune, 5 september 1997, på t lake 1 l. bøker publisert mellom 1927 og " +#~ "1946, bare 2,2 prosent var i Skriv ut i 2002. r. anthony reese, \\\"den " +#~ "første salg doktrinen i tid med digitale nettverk,\\\" boston college lov " +#~ "gå gjennom 44 (2003): 593 n. 51." + +#~ msgid "" +#~ "Technologists have thus removed the economic costs of building such an " +#~ "archive. But lawyers' costs remain. For as much as we might like to call " +#~ "these \\\"archives,\\\" as warm as the idea of a \\\"library\\\" might " +#~ "seem, the \\\"content\\\" that is collected in these digital spaces is " +#~ "also someone's \\\"property.\\\" And the law of property restricts the " +#~ "freedoms that Kahle and others would exercise." +#~ msgstr "" +#~ "Teknologorganisasjon har dermed fjernet de økonomiske kostnadene med å " +#~ "bygge et slikt arkiv. men fortsatt advokater kostnader. for så mye som vi " +#~ "kanskje liker å kalle disse \\\"archives\\\", så varmt som ideen om et \\" +#~ "\"bibliotek\\\" kan virke, \\\"innhold\\\" som er samlet inn i disse " +#~ "digitale mellomrom er også noens \\\"egenskapen.\\\" og loven om " +#~ "egenskapen begrenser friheter som kahle, og andre vil utøve." + +#~ msgid "CHAPTER TEN: \\\"Property\\\"" +#~ msgstr "Kapittel 10: \\\"property\\\"" + +#~ msgid "" +#~ "In defending artistic liberty and the freedom of speech that our culture " +#~ "depends upon, the MPAA has done important good. In crafting the MPAA " +#~ "rating system, it has probably avoided a great deal of speech-regulating " +#~ "harm. But there is an aspect to the organization's mission that is both " +#~ "the most radical and the most important. This is the organization's " +#~ "effort, epitomized in Valenti's every act, to redefine the meaning of \\" +#~ "\"creative property.\\\"" +#~ msgstr "" +#~ "til å forsvare kunstneriske frihet og ytringsfriheten som avhenger av vår " +#~ "kultur, har mpaa gjort viktig gode. i laging Toppliste mpaa, har det " +#~ "sannsynligvis unngått mye tale-regulere skade. men det er et aspekt til " +#~ "organisasjonens misjon som er både den mest radikale og de viktigste. " +#~ "Dette er organisasjonens-innsats, epitomized i valenti's hver handling, " +#~ "til å redefinere betydningen av \\\"kreative property.\\\"" + +#~ msgid "" +#~ "The strategy of this rhetoric, like the strategy of most of Valenti's " +#~ "rhetoric, is brilliant and simple and brilliant because simple. The \\" +#~ "\"central theme\\\" to which \\\"reasonable men and women\\\" will return " +#~ "is this: \\\"Creative property owners must be accorded the same rights " +#~ "and protections resident in all other property owners in the nation.\\\" " +#~ "There are no second-class citizens, Valenti might have continued. There " +#~ "should be no second-class property owners." +#~ msgstr "" +#~ "strategien for denne retorikk, som strategi for de fleste av valenti's " +#~ "retorikk, er strålende og enkel og strålende fordi enkel. \\\"sentrale " +#~ "temaet\\\" som \\\"rimelig menn og kvinner\\\" vil returnere er dette: \\" +#~ "\"kreative bolig må substansiell med samme rettigheter og beskyttelsene " +#~ "bosatt i alle andre bolig i nasjonen.\\\" det er ingen andre klasses " +#~ "borgere, valenti kanskje har fortsatt. Det bør være ingen annenklasses " +#~ "bolig." + +#~ msgid "" +#~ "This claim has an obvious and powerful intuitive pull. It is stated with " +#~ "such clarity as to make the idea as obvious as the notion that we use " +#~ "elections to pick presidents. But in fact, there is no more extreme a " +#~ "claim made by anyone who is serious in this debate than this claim of " +#~ "Valenti's. Jack Valenti, however sweet and however brilliant, is perhaps " +#~ "the nation's foremost extremist when it comes to the nature and scope of " +#~ "\\\"creative property.\\\" His views have no reasonable connection to our " +#~ "actual legal tradition, even if the subtle pull of his Texan charm has " +#~ "slowly redefined that tradition, at least in Washington." +#~ msgstr "" +#~ "denne påstanden har en tydelig og kraftig intuitivt trekk. Det er oppgitt " +#~ "med slike klarhet som å gjøre ideen tydelig som oppfatningen at vi bruker " +#~ "valgene for å plukke presidenter. men faktisk, det er ingen mer ekstreme " +#~ "krav gjort av alle som er alvorlig i denne debatten enn dette krav av " +#~ "valenti's. Jack valenti, men søt og men strålende, er kanskje landets " +#~ "fremste ekstremistgrupper når det kommer til naturen og omfanget av \\" +#~ "\"kreative egenskapen.\\\" sitt syn har ingen rimelig tilknytning til vår " +#~ "faktiske juridiske tradisjon, selv om de subtile drar av hans Texas sjarm " +#~ "har sakte redefinert denne tradisjonen, minst i washington." + +#~ msgid "" +#~ "The framers of our Constitution loved \\\"property.\\\" Indeed, so " +#~ "strongly did they love property that they built into the Constitution an " +#~ "important requirement. If the government takes your property--if it " +#~ "condemns your house, or acquires a slice of land from your farm--it is " +#~ "required, under the Fifth Amendment's \\\"Takings Clause,\\\" to pay you " +#~ "\\\"just compensation\\\" for that taking. The Constitution thus " +#~ "guarantees that property is, in a certain sense, sacred. It cannot ever " +#~ "be taken from the property owner unless the government pays for the " +#~ "privilege." +#~ msgstr "" +#~ "forfatterne av vår grunnlov elsket \\\"egenskapen.\\\" faktisk så sterkt " +#~ "gjorde de elsker egenskapen at de innebygd i Grunnloven et viktig krav. " +#~ "Hvis regjeringen tar din eiendom--hvis det fordømmer huset, eller kjøper " +#~ "et stykke land fra farmen--det er nødvendig, under den femte " +#~ "endringsforslaget \\\"takings setningen,\\\" å betale deg \\\"bare " +#~ "erstatning\\\" for som tar. grunnloven garanterer dermed at egenskapen " +#~ "er, i en viss forstand, hellig. den kan ikke noen gang blir tatt fra " +#~ "eiendommen eier med mindre regjeringen betaler for privilegiet." + +#~ msgid "" +#~ "Yet the very same Constitution speaks very differently about what Valenti " +#~ "calls \\\"creative property.\\\" In the clause granting Congress the " +#~ "power to create \\\"creative property,\\\" the Constitution requires that " +#~ "after a \\\"limited time,\\\" Congress take back the rights that it has " +#~ "granted and set the \\\"creative property\\\" free to the public domain. " +#~ "Yet when Congress does this, when the expiration of a copyright term \\" +#~ "\"takes\\\" your copyright and turns it over to the public domain, " +#~ "Congress does not have any obligation to pay \\\"just compensation\\\" " +#~ "for this \\\"taking.\\\" Instead, the same Constitution that requires " +#~ "compensation for your land requires that you lose your \\\"creative " +#~ "property\\\" right without any compensation at all." +#~ msgstr "" +#~ "men svært samme grunnlov snakker veldig annerledes om hva valenti " +#~ "samtaler \\\"kreative egenskapen.\\\" i setningsdelen gir Kongressen makt " +#~ "til å opprette \\\"kreative property\\\" Grunnloven krever at etter en \\" +#~ "\"begrenset tid,\\\" Kongressen ta tilbake rettighetene at det har gitt " +#~ "og egenskapen \\\"kreative\\\" gratis til public domain. men når " +#~ "Kongressen gjør dette, når utløpet av en opphavsrett begrepet \\\"tar\\\" " +#~ "din opphavsrett og snur den over til public domain, Kongressen ikke har " +#~ "noen forpliktelse til å betale \\\"bare erstatning\\\" for denne \\\"tar." +#~ "\\\" i stedet samme grunnlov som krever erstatning for ditt land krever " +#~ "at du mister din \\\"kreative eiendom\\\" rett uten noen kompensasjon " +#~ "overhodet." + +#~ msgid "" +#~ "To answer this question, we need to get some perspective on the history " +#~ "of these \\\"creative property\\\" rights, and the control that they " +#~ "enabled. Once we see clearly how differently these rights have been " +#~ "defined, we will be in a better position to ask the question that should " +#~ "be at the core of this war: Not whether creative property should be " +#~ "protected, but how. Not whether we will enforce the rights the law gives " +#~ "to creative-property owners, but what the particular mix of rights ought " +#~ "to be. Not whether artists should be paid, but whether institutions " +#~ "designed to assure that artists get paid need also control how culture " +#~ "develops." +#~ msgstr "" +#~ "for å besvare dette spørsmålet, trenger vi å få noen perspektiv om disse " +#~ "\\\"kreative eiendom\\\", og kontrollen som de aktivert historie. Når vi " +#~ "ser klart hvor annerledes disse rettighetene er definert, vil vi være i " +#~ "en bedre posisjon til å stille spørsmål som bør være kjernen i denne " +#~ "krigen: ikke om kreative egenskapen skal beskyttes, men hvordan. ikke om " +#~ "vi vil håndheve rettigheter gir loven til creative-bolig, men hva bestemt " +#~ "blanding av rettigheter bør være. ikke om artister som skal betales, men " +#~ "om institusjoner utformet for å forsikre at artister får betalt må du " +#~ "også kontrollere hvordan kultur utvikler seg." + +#~ msgid "" +#~ "Finally, and for the moment, perhaps, most mysteriously, \\\"architecture" +#~ "\\\"--the physical world as one finds it--is a constraint on behavior. A " +#~ "fallen bridge might constrain your ability to get across a river. " +#~ "Railroad tracks might constrain the ability of a community to integrate " +#~ "its social life. As with the market, architecture does not effect its " +#~ "constraint through ex post punishments. Instead, also as with the market, " +#~ "architecture effects its constraint through simultaneous conditions. " +#~ "These conditions are imposed not by courts enforcing contracts, or by " +#~ "police punishing theft, but by nature, by \\\"architecture.\\\" If a 500-" +#~ "pound boulder blocks your way, it is the law of gravity that enforces " +#~ "this constraint. If a $500 airplane ticket stands between you and a " +#~ "flight to New York, it is the market that enforces this constraint." +#~ msgstr "" +#~ "til slutt, og for øyeblikket, kanskje mest mysteriously \\\"arkitektur\\" +#~ "\"--den fysiske verden som en finner den--er en begrensning på atferd. en " +#~ "falne bro kan begrense din evne til å komme over en elv. Railroad tracks " +#~ "kan begrense evnen til et fellesskap for å integrere sin sosiale liv. som " +#~ "med markedet, påvirker ingen arkitektur betingelsen gjennom ex post " +#~ "straffene. i stedet, også som med markedet, arkitektur effekter " +#~ "betingelsen gjennom samtidige forhold. disse betingelsene er pålagt ikke " +#~ "av domstolene håndheve kontrakter, eller av politiet straffe tyveri, men " +#~ "av natur, \\\"arkitektur.\\\" Hvis en 500-pund kampestein blokkerer deg, " +#~ "det er lov av tyngdekraften som gjennomfører denne betingelsen. Hvis en " +#~ "$500 flybillett står mellom deg og et fly til new york, er det markedet " +#~ "som håndhever denne betingelsen." + +#~ msgid "" +#~ "So, for example, consider the \\\"freedom\\\" to drive a car at a high " +#~ "speed. That freedom is in part restricted by laws: speed limits that say " +#~ "how fast you can drive in particular places at particular times. It is in " +#~ "part restricted by architecture: speed bumps, for example, slow most " +#~ "rational drivers; governors in buses, as another example, set the maximum " +#~ "rate at which the driver can drive. The freedom is in part restricted by " +#~ "the market: Fuel efficiency drops as speed increases, thus the price of " +#~ "gasoline indirectly constrains speed. And finally, the norms of a " +#~ "community may or may not constrain the freedom to speed. Drive at 50 mph " +#~ "by a school in your own neighborhood and you're likely to be punished by " +#~ "the neighbors. The same norm wouldn't be as effective in a different " +#~ "town, or at night." +#~ msgstr "" +#~ "så, for eksempel vurdere \\\"friheten\\\" å kjøre bil til en høy " +#~ "hastighet. at frihet er delvis begrenset av lover: fartsgrenser som sier " +#~ "hvor fort du kan kjøre spesielt steder på bestemte tidspunkter. Det er " +#~ "delvis begrenset av arkitektur: hastighet støt, for eksempel sakte mest " +#~ "rasjonell drivere; Guvernører i busser, som et annet eksempel, angir den " +#~ "maksimale hastigheten som driveren kan kjøre. frihet er delvis begrenset " +#~ "av markedet: drivstoffeffektivitet drops som farten øker, dermed " +#~ "bensinprisen indirekte begrenser hastighet. og endelig normer for et " +#~ "fellesskap kan eller kan ikke begrense friheten til å øke. kjøre på 50 " +#~ "mph av en skole i nabolaget ditt eget og du sannsynligvis til å bli " +#~ "straffet av naboene. samme normen ville ikke være så effektiv i en annen " +#~ "by, eller om natten." + +#~ msgid "" +#~ "Some people object to this way of talking about \\\"liberty.\\\" They " +#~ "object because their focus when considering the constraints that exist at " +#~ "any particular moment are constraints imposed exclusively by the " +#~ "government. For instance, if a storm destroys a bridge, these people " +#~ "think it is meaningless to say that one's liberty has been restrained. A " +#~ "bridge has washed out, and it's harder to get from one place to another. " +#~ "To talk about this as a loss of freedom, they say, is to confuse the " +#~ "stuff of politics with the vagaries of ordinary life. I don't mean to " +#~ "deny the value in this narrower view, which depends upon the context of " +#~ "the inquiry. I do, however, mean to argue against any insistence that " +#~ "this narrower view is the only proper view of liberty. As I argued in " +#~ "Code, we come from a long tradition of political thought with a broader " +#~ "focus than the narrow question of what the government did when. John " +#~ "Stuart Mill defended freedom of speech, for example, from the tyranny of " +#~ "narrow minds, not from the fear of government prosecution; John Stuart " +#~ "Mill, On Liberty (Indiana: Hackett Publishing Co., 1978), 19. John R. " +#~ "Commons famously defended the economic freedom of labor from constraints " +#~ "imposed by the market; John R. Commons, \\\"The Right to Work,\\\" in " +#~ "Malcom Rutherford and Warren J. Samuels, eds., John R. Commons: Selected " +#~ "Essays (London: Routledge: 1997), 62. The Americans with Disabilities Act " +#~ "increases the liberty of people with physical disabilities by changing " +#~ "the architecture of certain public places, thereby making access to those " +#~ "places easier; 42 United States Code, section 12101 (2000). Each of " +#~ "these interventions to change existing conditions changes the liberty of " +#~ "a particular group. The effect of those interventions should be accounted " +#~ "for in order to understand the effective liberty that each of these " +#~ "groups might face." +#~ msgstr "" +#~ "noen mennesker objektet til denne måten av snakker om \\\"frihet.\\\" de " +#~ "objektet fordi deres fokus når de vurderer begrensninger som finnes på et " +#~ "bestemt tidspunkt er begrensninger pålagt utelukkende av regjeringen. for " +#~ "eksempel, hvis en storm ødelegger en bro, tror disse folk det er " +#~ "meningsløst å si at en frihet har vært behersket. en bro er vasket ut, og " +#~ "det er vanskeligere for å få fra ett sted til et annet. å snakke om dette " +#~ "som et tap av frihet, de sier, er å forvirre ting av politikk med " +#~ "vagaries av ordinært liv. Jeg trenger ikke bety å nekte verdien i denne " +#~ "smalere visningen, som er avhengig av konteksten for henvendelsen. Jeg " +#~ "gjør, men mener å argumentere mot eventuelle insisterte på at denne " +#~ "smalere visningen er bare riktig visning av frihet. som jeg har hevdet i " +#~ "koden, kommer vi fra en lang tradisjon for politiske tanken med bredere " +#~ "fokus enn smale spørsmålet om hva regjeringen gjorde når. John stuart " +#~ "mill forsvarte ytringsfriheten, for eksempel fra tyranni av trange sinn, " +#~ "ikke fra frykt for regjeringen rettsforfølgelse; John stuart mill, på " +#~ "frihet (indiana: hackett publishing co., 1978), 19. John r. commons " +#~ "forsvarte famously økonomiske friheten av arbeidskraft fra begrensninger " +#~ "pålagt av markedet; John r. commons, \\\"rett til arbeid,\\\" i malcom " +#~ "rutherford og warren j. samuels, Red., john r. Commons: valgt essays " +#~ "(london: routledge: 1997), 62. amerikanerne med funksjonshemminger act " +#~ "øker frihet for personer med funksjonshemninger ved å endre arkitekturen " +#~ "i visse offentlige steder, og dermed gjør tilgang til de plasserer " +#~ "enklere; 42 united states code, delen 12101 (2000). hver av disse " +#~ "intervensjoner for å endre eksisterende betingelser, endres frihet å en " +#~ "bestemt gruppe. effekten av disse tiltakene bør tas med i betraktningen " +#~ "for å forstå den effektive frihet at hver av disse gruppene kan gjøre " +#~ "ansiktet." + +#~ msgid "" +#~ "Neither this analysis nor the conclusions that follow are new to the " +#~ "warriors. Indeed, in a \\\"White Paper\\\" prepared by the Commerce " +#~ "Department (one heavily influenced by the copyright warriors) in 1995, " +#~ "this mix of regulatory modalities had already been identified and the " +#~ "strategy to respond already mapped. In response to the changes the " +#~ "Internet had effected, the White Paper argued (1) Congress should " +#~ "strengthen intellectual property law, (2) businesses should adopt " +#~ "innovative marketing techniques, (3) technologists should push to develop " +#~ "code to protect copyrighted material, and (4) educators should educate " +#~ "kids to better protect copyright." +#~ msgstr "" +#~ "Denne analysen verken konklusjonene som følger er en ny warriors. faktisk " +#~ "i en \\\"hvitbok\\\" utarbeidet av commerce department (en sterkt " +#~ "påvirket av opphavsrett warriors) i 1995, denne blandingen av " +#~ "regulatoriske modaliteter hadde allerede identifisert og strategi for å " +#~ "svare allerede tilordnet. svar på endringene Internett hadde berørt, " +#~ "hevdet den tekniske beskrivelsen (1) Kongressen bør styrke lovgivning for " +#~ "immaterielle, (2) bedrifter skal vedta innovativ markedsføring teknikker, " +#~ "(3) Teknologorganisasjon push for å utvikle kode for å beskytte " +#~ "opphavsrettsbeskyttet materiale og (4) lærere skal utdanne barn å bedre " +#~ "beskytte opphavsretten." + +#~ msgid "" +#~ "Thus, there's nothing wrong or surprising in the content industry's " +#~ "campaign to protect itself from the harmful consequences of a " +#~ "technological innovation. And I would be the last person to argue that " +#~ "the changing technology of the Internet has not had a profound effect on " +#~ "the content industry's way of doing business, or as John Seely Brown " +#~ "describes it, its \\\"architecture of revenue.\\\"" +#~ msgstr "" +#~ "Således, det er ingenting galt eller overraskende i innhold bransjens " +#~ "kampanje til å beskytte seg fra skadelige konsekvensene av en teknologisk " +#~ "innovasjon. og jeg vil være den siste personen som hevder at den endrede " +#~ "teknologien på Internett ikke har hatt en dyp effekt på innhold bransjens " +#~ "måten å drive virksomhet, eller som john seely brown beskriver den, dens " +#~ "\\\"arkitektur av inntekter.\\\"" + +#~ msgid "" +#~ "In the context of laws regulating speech--which include, obviously, " +#~ "copyright law--that duty is even stronger. When the industry complaining " +#~ "about changing technologies is asking Congress to respond in a way that " +#~ "burdens speech and creativity, policy makers should be especially wary of " +#~ "the request. It is always a bad deal for the government to get into the " +#~ "business of regulating speech markets. The risks and dangers of that game " +#~ "are precisely why our framers created the First Amendment to our " +#~ "Constitution: \\\"Congress shall make no law . . . abridging the freedom " +#~ "of speech.\\\" So when Congress is being asked to pass laws that would \\" +#~ "\"abridge\\\" the freedom of speech, it should ask-- carefully--whether " +#~ "such regulation is justified." +#~ msgstr "" +#~ "i sammenheng med lover som regulerer tale--, og som omfatter, tydeligvis, " +#~ "copyright lov--at plikt er enda sterkere. Når industrien klagende om " +#~ "hvordan du endrer teknologier ber Kongressen til å svare på en måte som " +#~ "byrder tale og kreativitet, bør beslutningstakere være spesielt skeptisk " +#~ "til forespørselen. Det er alltid en dårlig deal for regjeringen å komme " +#~ "inn i virksomheten av regulerer tale markeder. risikoer og farer av " +#~ "spillet er nøyaktig hvorfor våre underskrev opprettet den første " +#~ "endringen til vår grunnlov: \\\"Kongressen skal gjøre ingen lov... " +#~ "abridging friheten til tale.\\\" så når Kongressen blir bedt om å passere " +#~ "lovgivning som ville \\\"abridge\\\" ytringsfriheten, det bør spørre--" +#~ "nøye--om slike regulering er begrunnet." + +#~ msgid "" +#~ "My argument just now, however, has nothing to do with whether the changes " +#~ "that are being pushed by the copyright warriors are \\\"justified.\\\" My " +#~ "argument is about their effect. For before we get to the question of " +#~ "justification, a hard question that depends a great deal upon your " +#~ "values, we should first ask whether we understand the effect of the " +#~ "changes the content industry wants." +#~ msgstr "" +#~ "mitt argument akkurat nå, men har ingenting å gjøre med om endringene som " +#~ "skyves av opphavsrett krigerne er \\\"blokkjustert.\\\" mitt argument er " +#~ "om deres effekt. for før vi komme til spørsmålet om berettigelse, et " +#~ "vanskelig spørsmål som mye avhenger av verdier, bør vi først be om vi " +#~ "forstår effekten av endringene innhold industrien ønsker." + +#~ msgid "" +#~ "See, for example, James Boyle, \\\"A Politics of Intellectual Property: " +#~ "Environmentalism for the Net?\\\" Duke Law Journal 47 (1997): 87." +#~ msgstr "" +#~ "Se for eksempel james boyle, \\\"en politikk av åndsverk: " +#~ "environmentalism for nettet?\\\" duke law journal 47 (1997): 87." + +#~ msgid "" +#~ "America copied English copyright law. Actually, we copied and improved " +#~ "English copyright law. Our Constitution makes the purpose of \\\"creative " +#~ "property\\\" rights clear; its express limitations reinforce the English " +#~ "aim to avoid overly powerful publishers." +#~ msgstr "" +#~ "Amerika kopiert engelsk lov om opphavsrett. egentlig vi kopiert og " +#~ "forbedret engelsk lov om opphavsrett. vår grunnlov gjør formålet med \\" +#~ "\"creative property\\\" fjerner du rettigheter; uttrykkelig begrensninger " +#~ "forsterke den engelske mål å unngå altfor kraftig utgivere." + +#~ msgid "" +#~ "The power to establish \\\"creative property\\\" rights is granted to " +#~ "Congress in a way that, for our Constitution, at least, is very odd. " +#~ "Article I, section 8, clause 8 of our Constitution states that:" +#~ msgstr "" +#~ "makt til å etablere \\\"kreative\\\" eiendomsrettigheter gis til " +#~ "Kongressen på en måte som for vår grunnlov, minst, er veldig rart. " +#~ "artikkel, del 8, 8-setningsdelen i vår grunnlov sier at:" + +#~ msgid "" +#~ "Congress has the power to promote the Progress of Science and useful " +#~ "Arts, by securing for limited Times to Authors and Inventors the " +#~ "exclusive Right to their respective Writings and Discoveries. We can " +#~ "call this the \\\"Progress Clause,\\\" for notice what this clause does " +#~ "not say. It does not say Congress has the power to grant \\\"creative " +#~ "property rights.\\\" It says that Congress has the power to promote " +#~ "progress. The grant of power is its purpose, and its purpose is a public " +#~ "one, not the purpose of enriching publishers, nor even primarily the " +#~ "purpose of rewarding authors." +#~ msgstr "" +#~ "Kongressen har makt til å fremme utviklingen av vitenskap og nyttig " +#~ "kunst, ved å sikre begrenset ganger til forfattere og oppfinnere den " +#~ "eksklusive retten til deres respektive skrifter og funn. Vi kan kalle " +#~ "dette den \\\"fremgang setningen,\\\" for å se hva denne bestemmelsen " +#~ "ikke si. Det er ikke si Kongressen har makt til å gi \\\"kreative " +#~ "egenskapen rettigheter.\\\" det står at Kongressen har makt til å fremme " +#~ "fremdrift. grant strøm er formålet, og formålet er en offentlig, ikke " +#~ "hensikten med berikende utgivere, eller med hovedsakelig formålet med " +#~ "givende forfatternes." + +#~ msgid "" +#~ "The Progress Clause expressly limits the term of copyrights. As we saw in " +#~ "chapter 6, the English limited the term of copyright so as to assure that " +#~ "a few would not exercise disproportionate control over culture by " +#~ "exercising disproportionate control over publishing. We can assume the " +#~ "framers followed the English for a similar purpose. Indeed, unlike the " +#~ "English, the framers reinforced that objective, by requiring that " +#~ "copyrights extend \\\"to Authors\\\" only." +#~ msgstr "" +#~ "fremdrift-setningsdelen begrenser uttrykkelig begrepet av opphavsretten. " +#~ "som vi så i kapittel 6, ville engelsk begrenset av copyright å forsikre " +#~ "om at noen ikke utøve uforholdsmessig kontroll over kultur ved å trene " +#~ "uforholdsmessig kontroll over publisering. Vi kan anta underskrev " +#~ "etterfulgt engelsk for lignende formål. faktisk, i motsetning til " +#~ "engelsk, underskrev forsterket det målet ved å kreve at opphavsretten " +#~ "utvide \\\"til forfattere\\\" bare." + +#~ msgid "" +#~ "I doubt the framers would recognize the regulation we call \\\"copyright\\" +#~ "\" today. The scope of that regulation is far beyond anything they ever " +#~ "considered. To begin to understand what they did, we need to put our \\" +#~ "\"copyright\\\" in context: We need to see how it has changed in the 210 " +#~ "years since they first struck its design." +#~ msgstr "" +#~ "Jeg tviler underskrev ville anerkjenne regulering vi kaller \\\"copyright" +#~ "\\\" i dag. omfanget av denne forskriften er langt overgår alt de " +#~ "noensinne vurdert. Hvis du vil begynne å forstå hva de gjorde, vi trenger " +#~ "å sette vår \\\"copyright\\\" i sammenheng: vi trenger å se hvordan det " +#~ "har endret i 210 årene siden de først slo sin design." + +#~ msgid "" +#~ "The United States abandoned this sensible system in 1976. For all works " +#~ "created after 1978, there was only one copyright term--the maximum term. " +#~ "For \\\"natural\\\" authors, that term was life plus fifty years. For " +#~ "corporations, the term was seventy-five years. Then, in 1992, Congress " +#~ "abandoned the renewal requirement for all works created before 1978. All " +#~ "works still under copyright would be accorded the maximum term then " +#~ "available. After the Sonny Bono Act, that term was ninety-five years." +#~ msgstr "" +#~ "USA forlatt dette fornuftig systemet i 1976. for alle arbeider opprettet " +#~ "etter 1978, var det bare en opphavsrett term--den maksimale betegnelsen. " +#~ "for \\\"naturlige\\\" forfattere var dette ordet livet pluss femti år. " +#~ "for bedrifter var begrepet sytti-fem år. deretter, i 1992, Kongressen " +#~ "forlatt fornyelse kravet for alle arbeider opprettet før 1978. alle " +#~ "fungerer fortsatt under opphavsrett ville substansiell den maksimale " +#~ "betegnelsen deretter tilgjengelig. etter sonny bono loven, at begrepet " +#~ "var fem og nitti år." + +#~ msgid "" +#~ "This change meant that American law no longer had an automatic way to " +#~ "assure that works that were no longer exploited passed into the public " +#~ "domain. And indeed, after these changes, it is unclear whether it is even " +#~ "possible to put works into the public domain. The public domain is " +#~ "orphaned by these changes in copyright law. Despite the requirement that " +#~ "terms be \\\"limited,\\\" we have no evidence that anything will limit " +#~ "them." +#~ msgstr "" +#~ "Denne endringen betydde at amerikansk lov ikke lenger en automatisk måte " +#~ "å forsikre som fungerer som utnyttes ikke lenger sendes til public " +#~ "domain. og faktisk, etter disse endringene, er det uklart om det er også " +#~ "mulig å sette fungerer i public domain. public domain er foreldreløse av " +#~ "disse endringene i lov om opphavsrett. til tross for kravet om at " +#~ "vilkårene være \\\"begrenset\\\", har vi ingen bevis for at noe vil " +#~ "begrense dem." + +#~ msgid "" +#~ "These statistics are understated. Between the years 1910 and 1962 (the " +#~ "first year the renewal term was extended), the average term was never " +#~ "more than thirty-two years, and averaged thirty years. See Landes and " +#~ "Posner, \\\"Indefinitely Renewable Copyright,\\\" loc. cit." +#~ msgstr "" +#~ "disse statistikkene er undervurdert. i årene 1910 og 1962 (det første " +#~ "året fornyelse sikt ble forlenget), gjennomsnittlig begrepet var aldri " +#~ "mer enn tretti-to år, og tretti år i gjennomsnitt. se landes og posner, \\" +#~ "\"på ubestemt tid fornybar copyright,\\\" loc. cit." + +#~ msgid "" +#~ "The \\\"scope\\\" of a copyright is the range of rights granted by the " +#~ "law. The scope of American copyright has changed dramatically. Those " +#~ "changes are not necessarily bad. But we should understand the extent of " +#~ "the changes if we're to keep this debate in context." +#~ msgstr "" +#~ "\\\"område\\\" av en opphavsrett er området av rettigheter gitt av loven. " +#~ "omfanget av amerikanske copyright har endret seg dramatisk. disse " +#~ "endringene er ikke nødvendigvis dårlig. men vi bør forstå omfanget av " +#~ "endringene Hvis vi å holde denne debatten i sammenheng." + +#~ msgid "" +#~ "In 1790, that scope was very narrow. Copyright covered only \\\"maps, " +#~ "charts, and books.\\\" That means it didn't cover, for example, music or " +#~ "architecture. More significantly, the right granted by a copyright gave " +#~ "the author the exclusive right to \\\"publish\\\" copyrighted works. That " +#~ "means someone else violated the copyright only if he republished the work " +#~ "without the copyright owner's permission. Finally, the right granted by a " +#~ "copyright was an exclusive right to that particular book. The right did " +#~ "not extend to what lawyers call \\\"derivative works.\\\" It would not, " +#~ "therefore, interfere with the right of someone other than the author to " +#~ "translate a copyrighted book, or to adapt the story to a different form " +#~ "(such as a drama based on a published book)." +#~ msgstr "" +#~ "i 1790 var at omfanget svært smale. Copyright dekket bare \\\"kart, " +#~ "diagrammer og bøker.\\\", som betyr at det ikke dekker, for eksempel, " +#~ "musikk eller arkitektur. mer betydelig, ga retten som er innvilget av en " +#~ "opphavsrett forfatteren eneretten til \\\"Publiser\\\" opphavsrettslig " +#~ "beskyttet verk. Det betyr at noen andre har brutt opphavsretten bare hvis " +#~ "han har publisert arbeid uten opphavsrett eierens tillatelse på nytt. " +#~ "Endelig, retten som er innvilget av en opphavsrett var en eksklusiv rett " +#~ "til den aktuelle boken. høyre ikke strekker seg til det advokater kaller " +#~ "\\\"avledede works.\\\" det vil ikke, derfor forstyrre retten av andre " +#~ "enn forfatteren å oversette en opphavsrettsbeskyttet bok, eller å " +#~ "tilpasse historien til et annet skjema (for eksempel et drama basert på " +#~ "en publiserte bok)." + +#~ msgid "" +#~ "This, too, has changed dramatically. While the contours of copyright " +#~ "today are extremely hard to describe simply, in general terms, the right " +#~ "covers practically any creative work that is reduced to a tangible form. " +#~ "It covers music as well as architecture, drama as well as computer " +#~ "programs. It gives the copyright owner of that creative work not only the " +#~ "exclusive right to \\\"publish\\\" the work, but also the exclusive right " +#~ "of control over any \\\"copies\\\" of that work. And most significant for " +#~ "our purposes here, the right gives the copyright owner control over not " +#~ "only his or her particular work, but also any \\\"derivative work\\\" " +#~ "that might grow out of the original work. In this way, the right covers " +#~ "more creative work, protects the creative work more broadly, and protects " +#~ "works that are based in a significant way on the initial creative work." +#~ msgstr "" +#~ "Dette, også, har endret seg dramatisk. mens konturene av copyright i dag " +#~ "er ekstremt vanskelig å beskrive bare, i generelle termer, dekker høyre " +#~ "nesten ethvert skapende arbeid som er redusert til en håndgripelig form. " +#~ "den dekker musikk så vel som arkitektur, drama og programmer på " +#~ "datamaskinen. Det gir eieren av opphavsretten av det kreative arbeidet " +#~ "ikke bare den eksklusive retten til \\\"Publiser\\\" arbeidet, men også " +#~ "den etablerte eneretten for kontroll over alle \\\"Kopier\\\" av dem som " +#~ "fungerer. og mest betydningsfulle for vårt formål her, høyre gir " +#~ "opphavsrettsinnehaveren-kontroll over ikke bare hans eller hennes bestemt " +#~ "arbeid, men også noen \\\"avledet arbeid\\\" som kan vokse ut av det " +#~ "opprinnelige arbeidet. på denne måten, høyre dekker mer kreativt arbeid, " +#~ "beskytter det kreative arbeidet mer forstand, og beskytter verk som er " +#~ "basert på en betydelig måte på det første skapende arbeidet." + +#~ msgid "" +#~ "That much is the obvious part. Any system of copyright would control " +#~ "competing publishing. But there's a second part to the copyright of today " +#~ "that is not at all obvious. This is the protection of \\\"derivative " +#~ "rights.\\\" If you write a book, no one can make a movie out of your book " +#~ "without permission. No one can translate it without permission. " +#~ "CliffsNotes can't make an abridgment unless permission is granted. All of " +#~ "these derivative uses of your original work are controlled by the " +#~ "copyright holder. The copyright, in other words, is now not just an " +#~ "exclusive right to your writings, but an exclusive right to your writings " +#~ "and a large proportion of the writings inspired by them." +#~ msgstr "" +#~ "Det er mye den åpenbare delen. et system av copyright ville styre " +#~ "konkurrerende publisering. men det er en andre del til opphavsretten i " +#~ "dag som er overhodet ikke åpenbart. Dette er beskyttelse av \\\"avledede " +#~ "rettigheter.\\\" Hvis du skriver en bok, ingen kan lage en film i boken " +#~ "din uten tillatelse. Ingen kan oversette det uten tillatelse. dansk " +#~ "skuespiller og gjøre ikke en forkortelse, med mindre tillatelse er gitt. " +#~ "alle disse avledede bruksområdene for det originale arbeidet er styrt av " +#~ "opphavsrettsinnehaveren. opphavsretten, med andre ord, er nå ikke bare en " +#~ "eksklusiv rett til skrifter, men en eksklusiv rett til skrifter og en " +#~ "stor andel av skrifter som er inspirert av dem." + +#~ msgid "" +#~ "This again may seem right to you. If I wrote a book, then why should you " +#~ "be able to write a movie that takes my story and makes money from it " +#~ "without paying me or crediting me? Or if Disney creates a creature called " +#~ "\\\"Mickey Mouse,\\\" why should you be able to make Mickey Mouse toys " +#~ "and be the one to trade on the value that Disney originally created?" +#~ msgstr "" +#~ "Dette kan igjen virke riktig for deg. Hvis jeg skrev en bok, så hvorfor " +#~ "skal du kunne skrive en film som tar min historie og gjør penger fra det " +#~ "uten å betale meg eller kreditering meg? eller hvis disney oppretter en " +#~ "skapning kalt \\\"Mikke Mus\\\", hvorfor skal du kunne gjøre Mikke Mus " +#~ "leker og være en til å handle på verdien som disney opprinnelig opprettet?" + +#~ msgid "" +#~ "This is a simplification of the law, but not much of one. The law " +#~ "certainly regulates more than \\\"copies\\\"--a public performance of a " +#~ "copyrighted song, for example, is regulated even though performance per " +#~ "se doesn't make a copy; 17 United States Code, section 106(4). And it " +#~ "certainly sometimes doesn't regulate a \\\"copy\\\"; 17 United States " +#~ "Code, section 112(a). But the presumption under the existing law (which " +#~ "regulates \\\"copies;\\\" 17 United States Code, section 102) is that if " +#~ "there is a copy, there is a right." +#~ msgstr "" +#~ "Dette er en forenkling av loven, men ikke mye av en. loven absolutt " +#~ "regulerer mer enn \\\"Kopier\\\"--en offentlig fremføring av en " +#~ "kopibeskyttet sang, for eksempel er regulert selv om ytelse per se ikke " +#~ "gjøre en kopi; 17 united states code, delen 106(4). og det sikkert noen " +#~ "ganger regulere ikke en \\\"kopi\\\"; 17 united states code, delen 112" +#~ "(a). men antagelse under den eksisterende lov (som regulerer \\\"Kopier\\" +#~ "\"; 17 united states code, avsnitt 102) er at hvis det er en kopi, det er " +#~ "rett." + +#~ msgid "" +#~ "\\\"Copies.\\\" That certainly sounds like the obvious thing for " +#~ "copyright law to regulate. But as with Jack Valenti's argument at the " +#~ "start of this chapter, that \\\"creative property\\\" deserves the \\" +#~ "\"same rights\\\" as all other property, it is the obvious that we need " +#~ "to be most careful about. For while it may be obvious that in the world " +#~ "before the Internet, copies were the obvious trigger for copyright law, " +#~ "upon reflection, it should be obvious that in the world with the " +#~ "Internet, copies should not be the trigger for copyright law. More " +#~ "precisely, they should not always be the trigger for copyright law." +#~ msgstr "" +#~ "\\\"Kopier.\\\" som absolutt høres ut som det åpenbare tingen for " +#~ "opphavsrett å regulere. men som med jack valenti argumentet i begynnelsen " +#~ "av dette kapitlet, at \\\"kreative property\\\" fortjener \\\"samme " +#~ "rettigheter\\\" som alle andre eiendom, det er åpenbart at vi trenger å " +#~ "være mest forsiktig med. for mens det kan være opplagt at i verden før " +#~ "Internett, Kopier var åpenbare utløser for opphavsrett, på refleksjon, " +#~ "bør det være åpenbart at i verden med Internett, Kopier ikke bør være " +#~ "utløser for lov om opphavsrett. mer presist, bør de ikke alltid være " +#~ "utløser for lov om opphavsrett." + +#~ msgid "" +#~ "Finally, there is a tiny sliver of otherwise regulated copying uses that " +#~ "remain unregulated because the law considers these \\\"fair uses.\\\"" +#~ msgstr "" +#~ "Endelig er det en liten sliver i regulert Ellers kopierer bruker som " +#~ "forblir unregulated fordi loven vurderer disse \\\"rimelig bruk\\\"." + +#~ msgid "" +#~ "These are uses that themselves involve copying, but which the law treats " +#~ "as unregulated because public policy demands that they remain " +#~ "unregulated. You are free to quote from this book, even in a review that " +#~ "is quite negative, without my permission, even though that quoting makes " +#~ "a copy. That copy would ordinarily give the copyright owner the exclusive " +#~ "right to say whether the copy is allowed or not, but the law denies the " +#~ "owner any exclusive right over such \\\"fair uses\\\" for public policy " +#~ "(and possibly First Amendment) reasons." +#~ msgstr "" +#~ "disse er bruker at selv innebære kopiering, men som det lov behandler som " +#~ "unregulated fordi public policy krever at de forblir unregulated. du er " +#~ "fri til å sitere fra denne boken, selv i en gjennomgang som er ganske " +#~ "negativ, uten min tillatelse, selv om den sitere lager en kopi. Denne " +#~ "kopien vil vanligvis gi eieren av opphavsretten eksklusiv rett til å si " +#~ "om kopien er tillatt eller ikke, men loven fornekter eieren av en " +#~ "eksklusiv rett over slike \\\"fair bruker\\\" for offentlig politikk (og " +#~ "muligens first endring) grunner." + +#~ msgid "" +#~ "In real space, then, the possible uses of a book are divided into three " +#~ "sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses " +#~ "that are nonetheless deemed \\\"fair\\\" regardless of the copyright " +#~ "owner's views." +#~ msgstr "" +#~ "i virkelige rommet, deretter mulige bruksområder for en bok er delt inn i " +#~ "tre sorterer: (1) unregulated bruker, (2) regulert bruker og (3) regulert " +#~ "bruker som likevel anses \\\"rettferdig\\\" uavhengig av copyrighteieren " +#~ "visninger." + +#~ msgid "" +#~ "I don't mean \\\"nature\\\" in the sense that it couldn't be different, " +#~ "but rather that its present instantiation entails a copy. Optical " +#~ "networks need not make copies of content they transmit, and a digital " +#~ "network could be designed to delete anything it copies so that the same " +#~ "number of copies remain." +#~ msgstr "" +#~ "Jeg trenger ikke bety \\\"natur\\\" i den forstand at det kunne ikke være " +#~ "annerledes, men heller at sin nåværende objektforekomst innebærer en " +#~ "kopi. optisk nettverk ikke trenger lage kopier av innhold de overføre, og " +#~ "en digital network kan være utformet for å slette noe det kopierer slik " +#~ "at det samme antallet kopier forblir." + +#~ msgid "" +#~ "Second, this shift is especially troubling in the context of " +#~ "transformative uses of creative content. Again, we can all understand the " +#~ "wrong in commercial piracy. But the law now purports to regulate any " +#~ "transformation you make of creative work using a machine. \\\"Copy and " +#~ "paste\\\" and \\\"cut and paste\\\" become crimes. Tinkering with a story " +#~ "and releasing it to others exposes the tinkerer to at least a requirement " +#~ "of justification. However troubling the expansion with respect to " +#~ "copying a particular work, it is extraordinarily troubling with respect " +#~ "to transformative uses of creative work." +#~ msgstr "" +#~ "andre, dette skiftet er spesielt troubling i sammenheng med " +#~ "transformative bruk av kreative innholdet. igjen, kan vi alle forstå feil " +#~ "i kommersielle piratkopiering. men loven nå hensikt å regulere alle " +#~ "transformasjoner som du gjør i skapende arbeid ved hjelp av en maskin. \\" +#~ "\"Kopier og Lim inn\\\" og \\\"klippe og lime\\\" bli forbrytelser. " +#~ "fiksing og triksing med en historie og slippe det til andre viser til " +#~ "tinkerer å minst et krav for justering. troubling utvidelse med hensyn " +#~ "til kopiere et bestemt arbeid, men det er svært troubling med hensyn til " +#~ "transformative bruk av skapende arbeid." + +#~ msgid "" +#~ "Third, this shift from category 1 to category 2 puts an extraordinary " +#~ "burden on category 3 (\\\"fair use\\\") that fair use never before had to " +#~ "bear. If a copyright owner now tried to control how many times I could " +#~ "read a book on-line, the natural response would be to argue that this is " +#~ "a violation of my fair use rights. But there has never been any " +#~ "litigation about whether I have a fair use right to read, because before " +#~ "the Internet, reading did not trigger the application of copyright law " +#~ "and hence the need for a fair use defense. The right to read was " +#~ "effectively protected before because reading was not regulated." +#~ msgstr "" +#~ "tredje, dette skiftet fra Kategori 1 til kategori 2 setter en " +#~ "ekstraordinære belastning på kategori 3 (\\\"fair use\\\"), som " +#~ "rettferdig bruk aldri før hadde å bære. Hvis en opphavsrettsinnehaveren " +#~ "nå prøvde å kontrollere hvor mange ganger jeg kunne lese en bok på " +#~ "nettet, ville den naturlige reaksjon være å hevde at dette er et brudd på " +#~ "mine fair use-rettigheter. men det har aldri vært noen rettssaker jeg ha " +#~ "en rettferdig bruk høyre for å lese, fordi før Internett, leser ikke " +#~ "utløse anvendelsen av lov om opphavsrett og dermed behovet for en " +#~ "rettferdig bruk forsvar. retten til å lese var effektivt beskyttet før " +#~ "fordi lesing ikke ble regulert." + +#~ msgid "" +#~ "The case of Video Pipeline is a good example. Video Pipeline was in the " +#~ "business of making \\\"trailer\\\" advertisements for movies available to " +#~ "video stores. The video stores displayed the trailers as a way to sell " +#~ "videos. Video Pipeline got the trailers from the film distributors, put " +#~ "the trailers on tape, and sold the tapes to the retail stores." +#~ msgstr "" +#~ "tilfelle av video rørledning er et godt eksempel. video rørledningen var " +#~ "i bransjen for å gjøre \\\"trailer\\\" reklame for filmer tilgjengelig " +#~ "til video butikker. video butikkene vises tilhengere som en måte å selge " +#~ "videoer. video rørledningen fikk tilhengere fra trevare, sette tilhengere " +#~ "på bånd, og solgt kassetter til selge i detalj butikker." + +#~ msgid "" +#~ "The company did this for about fifteen years. Then, in 1997, it began to " +#~ "think about the Internet as another way to distribute these previews. " +#~ "The idea was to expand their \\\"selling by sampling\\\" technique by " +#~ "giving on-line stores the same ability to enable \\\"browsing.\\\" Just " +#~ "as in a bookstore you can read a few pages of a book before you buy the " +#~ "book, so, too, you would be able to sample a bit from the movie on-line " +#~ "before you bought it." +#~ msgstr "" +#~ "selskapet gjorde dette i omtrent femten år. deretter, i 1997, det begynte " +#~ "å tenke på Internett som en måte å distribuere disse forhåndsvisninger. " +#~ "ideen var å utvide sin \\\"selger ved prøvetaking\\\" teknikk ved å gi on-" +#~ "line butikker samme muligheten til å aktivere \\\"surfing.\\\" akkurat " +#~ "som i en bokhandel du kan lese noen få sider av en bok før du kjøper " +#~ "boken, så, du vil også kunne smake litt fra filmen on-line før du kjøpte " +#~ "den." + +#~ msgid "" +#~ "In 1998, Video Pipeline informed Disney and other film distributors that " +#~ "it intended to distribute the trailers through the Internet (rather than " +#~ "sending the tapes) to distributors of their videos. Two years later, " +#~ "Disney told Video Pipeline to stop. The owner of Video Pipeline asked " +#~ "Disney to talk about the matter--he had built a business on distributing " +#~ "this content as a way to help sell Disney films; he had customers who " +#~ "depended upon his delivering this content. Disney would agree to talk " +#~ "only if Video Pipeline stopped the distribution immediately. Video " +#~ "Pipeline thought it was within their \\\"fair use\\\" rights to " +#~ "distribute the clips as they had. So they filed a lawsuit to ask the " +#~ "court to declare that these rights were in fact their rights." +#~ msgstr "" +#~ "i 1998 informert video rørledningen disney og andre trevare at det ment å " +#~ "distribuere tilhengere gjennom Internett (i stedet for å sende båndene) " +#~ "til distributører av deres videoer. to år senere, fortalte disney video " +#~ "rørledning til å stoppe. eieren av video rørledningen spurte disney å " +#~ "snakke om saken, hadde han bygget en bedrift på distribuere dette " +#~ "innholdet som en måte å hjelp Selg disney filmer; Han hadde kunder som " +#~ "var avhengig av hans leverer dette innholdet. Disney aksepterer å snakke " +#~ "bare hvis video rørledningen stoppet fordelingen umiddelbart. video " +#~ "rørledningen trodde det var innenfor sine \\\"fair use\\\"-rettigheter " +#~ "til å distribuere utklippene som de hadde. så de anlagt en sak å be " +#~ "retten å erklære at disse rettighetene var faktisk sine rettigheter." + +#~ msgid "" +#~ "Disney countersued--for $100 million in damages. Those damages were " +#~ "predicated upon a claim that Video Pipeline had \\\"willfully infringed\\" +#~ "\" on Disney's copyright. When a court makes a finding of willful " +#~ "infringement, it can award damages not on the basis of the actual harm to " +#~ "the copyright owner, but on the basis of an amount set in the statute. " +#~ "Because Video Pipeline had distributed seven hundred clips of Disney " +#~ "movies to enable video stores to sell copies of those movies, Disney was " +#~ "now suing Video Pipeline for $100 million." +#~ msgstr "" +#~ "Disney countersued--for $100 millioner i skader. disse skader ble " +#~ "predicated upon et krav at video rørledningen hadde \\\"willfully krenket" +#~ "\\\" på disney's copyright. Når en domstol gjør en oppdagelse av willful " +#~ "brudd, kan den prisen skader ikke på grunnlag av den faktiske skaden for " +#~ "eieren av opphavsretten, men på grunnlag av et beløp som er angitt i " +#~ "vedtektene. fordi video rørledningen hadde distribuert syv hundre klipp " +#~ "av disney film å aktivere video butikker å selge kopier av disse filmene, " +#~ "var disney nå suing video rørledning for $100 millioner." + +#~ msgid "" +#~ "Now, you might think this is a close case, and I think the courts would " +#~ "consider it a close case. My point here is to map the change that gives " +#~ "Disney this power. Before the Internet, Disney couldn't really control " +#~ "how people got access to their content. Once a video was in the " +#~ "marketplace, the \\\"first-sale doctrine\\\" would free the seller to use " +#~ "the video as he wished, including showing portions of it in order to " +#~ "engender sales of the entire movie video. But with the Internet, it " +#~ "becomes possible for Disney to centralize control over access to this " +#~ "content. Because each use of the Internet produces a copy, use on the " +#~ "Internet becomes subject to the copyright owner's control. The technology " +#~ "expands the scope of effective control, because the technology builds a " +#~ "copy into every transaction." +#~ msgstr "" +#~ "Nå kan du tror dette er en Lukk tilfelle, og jeg tror domstolene anser " +#~ "det som en Lukk saken. Mitt poeng her er å tilordne endringen som gir " +#~ "disney denne makten. før Internett, kunne ikke disney virkelig styre " +#~ "hvordan folk har tilgang til innholdet. Når en video var i markedet, " +#~ "ville \\\"første-salg doktrine\\\" gratis selgeren for å bruke videoen " +#~ "som han ønsket, inkludert viser deler av det for å skape salg av hele " +#~ "filmen video. men med Internett, blir det mulig for disney å sentralisere " +#~ "kontroll over tilgang til dette innholdet. fordi hver bruk av Internett " +#~ "gir en kopi, blir copyrighteieren kontroll en bruk på Internett. " +#~ "teknologien utvider omfanget av effektiv kontroll, fordi teknologien " +#~ "bygger en kopi til hver transaksjon." + +#~ msgid "" +#~ "The control comes instead from the code--from the technology within which " +#~ "the e-book \\\"lives.\\\" Though the e-book says that these are " +#~ "permissions, they are not the sort of \\\"permissions\\\" that most of us " +#~ "deal with. When a teenager gets \\\"permission\\\" to stay out till " +#~ "midnight, she knows (unless she's Cinderella) that she can stay out till " +#~ "2 A.M., but will suffer a punishment if she's caught. But when the Adobe " +#~ "eBook Reader says I have the permission to make ten copies of the text " +#~ "into the computer's memory, that means that after I've made ten copies, " +#~ "the computer will not make any more. The same with the printing " +#~ "restrictions: After ten pages, the eBook Reader will not print any more " +#~ "pages. It's the same with the silly restriction that says that you can't " +#~ "use the Read Aloud button to read my book aloud--it's not that the " +#~ "company will sue you if you do; instead, if you push the Read Aloud " +#~ "button with my book, the machine simply won't read aloud." +#~ msgstr "" +#~ "kontrollen kommer i stedet fra koden--fra teknologi som e-bok \\\"liv.\\" +#~ "\" om e-boken sier at disse er tillatelsene, de er ikke typen \\" +#~ "\"tillatelser\\\" som de fleste av oss håndtere. Når en tenåring blir \\" +#~ "\"tillatelse\\\" til å være ute til midnatt, vet hun (med mindre hun er " +#~ "cinderella) at hun kan være ute til 2 am, men vil lide en straff hvis hun " +#~ "er fanget. men når adobe eBok reader sier jeg har tillatelse til å lage " +#~ "ti Kopier teksten inn i datamaskinens minne, som betyr at etter at jeg " +#~ "har gjort ti eksemplarer, datamaskinen ikke vil gjøre noe mer. det samme " +#~ "med utskrift begrensninger: eBok-leser ikke skrives ut flere sider etter " +#~ "ti sider. Det er det samme med dum størrelsesbegrensningen som sier at du " +#~ "ikke kan bruke lese høyt knappen til å lese boken min høyt--det er ikke " +#~ "at selskapet vil saksøke deg hvis du gjør; i stedet, hvis du presse lese " +#~ "høyt knappen med min bok, maskinen bare vil ikke lese høyt." + +#~ msgid "" +#~ "These are controls, not permissions. Imagine a world where the Marx " +#~ "Brothers sold word processing software that, when you tried to type \\" +#~ "\"Warner Brothers,\\\" erased \\\"Brothers\\\" from the sentence." +#~ msgstr "" +#~ "Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx " +#~ "brødrene solgte tekstbehandling programvare som, da du prøvde å skrive " +#~ "inn \\\"warner brothers,\\\" slettet \\\"brødre\\\" fra setningen." + +#~ msgid "" +#~ "Here was a public domain children's book that you were not allowed to " +#~ "copy, not allowed to lend, not allowed to give, and, as the \\" +#~ "\"permissions\\\" indicated, not allowed to \\\"read aloud\\\"!" +#~ msgstr "" +#~ "Her var et frivare barnebok som du ikke var tillatt for å kopiere, ikke " +#~ "lov til å låne, ikke lov til å gi og, som \\\"tillatelser\\\" angitt, " +#~ "ikke lov til å \\\"lese høyt\\\"!" + +#~ msgid "" +#~ "Consider the robotic dog made by Sony named \\\"Aibo.\\\" The Aibo learns " +#~ "tricks, cuddles, and follows you around. It eats only electricity and " +#~ "that doesn't leave that much of a mess (at least in your house)." +#~ msgstr "" +#~ "vurdere robotic hunden gjort av sony kalt \\\"aibo.\\\" i aibo lærer " +#~ "triks, cuddles, og følger deg. det spiser bare elektrisitet og som ikke " +#~ "la så mye av et rot (i det minste i huset)." + +#~ msgid "" +#~ "\\\"Teach\\\" here has a special meaning. Aibos are just cute computers. " +#~ "You teach a computer how to do something by programming it differently. " +#~ "So to say that aibopet.com was giving information about how to teach the " +#~ "dog to do new tricks is just to say that aibopet.com was giving " +#~ "information to users of the Aibo pet about how to hack their computer \\" +#~ "\"dog\\\" to make it do new tricks (thus, aibohack.com)." +#~ msgstr "" +#~ "\\\"lære\\\" har her en spesiell betydning. aibos er bare søt " +#~ "datamaskiner. du lære en datamaskin hvor å gjøre noe ved programmering " +#~ "det annerledes. så å si at aibopet.com var å gi informasjon om hvordan du " +#~ "lære hunden å gjøre nye triks er bare å si at aibopet.com var å gi " +#~ "informasjon til brukere av aibo-pet om hvordan å hacke datamaskinen \\" +#~ "\"hund\\\" slik at den gjør nye triks (derfor aibohack.com)." + +#~ msgid "" +#~ "If you're not a programmer or don't know many programmers, the word hack " +#~ "has a particularly unfriendly connotation. Nonprogrammers hack bushes or " +#~ "weeds. Nonprogrammers in horror movies do even worse. But to programmers, " +#~ "or coders, as I call them, hack is a much more positive term. Hack just " +#~ "means code that enables the program to do something it wasn't originally " +#~ "intended or enabled to do. If you buy a new printer for an old computer, " +#~ "you might find the old computer doesn't run, or \\\"drive,\\\" the " +#~ "printer. If you discovered that, you'd later be happy to discover a hack " +#~ "on the Net by someone who has written a driver to enable the computer to " +#~ "drive the printer you just bought." +#~ msgstr "" +#~ "Hvis du ikke er en programmerer, eller vet ikke mange programmerere, har " +#~ "det ord banalisere en spesielt unfriendly connotation. nonprogrammers " +#~ "banalisere busker eller ugress. nonprogrammers i horror filmer gjøre enda " +#~ "verre. men programmerere eller coders, som jeg kaller dem, banalisere er " +#~ "et mye mer positiv begrep. banalisere betyr bare kode som gjør at " +#~ "programmet til å gjøre noe det ikke var opprinnelig ment eller aktivert å " +#~ "gjøre. Hvis du kjøper en ny skriver for en gammel datamaskin, kan du " +#~ "finne den gamle datamaskinen ikke kjører, eller \\\"drive\\\", skriveren. " +#~ "Hvis du oppdaget at, vil du senere gjerne til å oppdage en hack på nettet " +#~ "av noen som har skrevet en driver for å aktivere datamaskinen til å kjøre " +#~ "skriveren du nettopp kjøpt." + +#~ msgid "" +#~ "The SDMI coalition had as its goal a technology to enable content owners " +#~ "to exercise much better control over their content than the Internet, as " +#~ "it originally stood, granted them. Using encryption, SDMI hoped to " +#~ "develop a standard that would allow the content owner to say \\\"this " +#~ "music cannot be copied,\\\" and have a computer respect that command. " +#~ "The technology was to be part of a \\\"trusted system\\\" of control that " +#~ "would get content owners to trust the system of the Internet much more." +#~ msgstr "" +#~ "sdmi-koalisjonen hadde som mål en teknologi for å aktivere innholdseiere " +#~ "å utøve mye bedre kontroll over deres innhold enn Internett, som den " +#~ "opprinnelig stod, gitt dem. Hvis du bruker kryptering, sdmi håpet å " +#~ "utvikle en standard som ville tillate innholdseieren å si \\\"denne " +#~ "musikken ikke kan kopieres\\\", og har en datamaskin respekterer " +#~ "kommandoen. teknologien var å være del av et \\\"klarert system\\\" av " +#~ "kontroll som ville få innholdseiere kan stole på systemet av Internett " +#~ "mye mer." + +#~ msgid "" +#~ "Any disclosure of information gained from participating in the Public " +#~ "Challenge would be outside the scope of activities permitted by the " +#~ "Agreement and could subject you and your research team to actions under " +#~ "the Digital Millennium Copyright Act (\\\"DMCA\\\")." +#~ msgstr "" +#~ "enhver formidling av informasjon fra å delta i offentlig challenge ville " +#~ "være utenfor omfanget av aktiviteter som er tillatt i henhold til avtalen " +#~ "og kunne utsettes du og din undersøkelsesgruppen for handlinger under " +#~ "digital millennium copyright act (\\\"dmca\\\")." + +#~ msgid "" +#~ "The bizarreness of these arguments is captured in a cartoon drawn in 1981 " +#~ "by Paul Conrad. At that time, a court in California had held that the VCR " +#~ "could be banned because it was a copyright-infringing technology: It " +#~ "enabled consumers to copy films without the permission of the copyright " +#~ "owner. No doubt there were uses of the technology that were legal: Fred " +#~ "Rogers, aka \\\"Mr. Rogers,\\\" for example, had testified in that case " +#~ "that he wanted people to feel free to tape Mr. Rogers' Neighborhood." +#~ msgstr "" +#~ "bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 " +#~ "av paul conrad. på den tiden, en domstol i california hadde holdt at " +#~ "videoopptakeren kan bli utestengt fordi det var en copyright-krenkende " +#~ "teknologi: det aktivert forbrukere til å kopiere filmer uten tillatelse " +#~ "fra eieren av opphavsretten. Det var ingen tvil om bruk av teknologien " +#~ "som var juridiske: fred rogers, aka \\\"mr. rogers,\\\" for eksempel " +#~ "hadde vitnet i så fall at han ønsket å fremkalle gratis å tape mr. " +#~ "rogers' neighborhood." + +#~ msgid "" +#~ "For an early and prescient analysis, see Rebecca Tushnet, \\\"Legal " +#~ "Fictions, Copyright, Fan Fiction, and a New Common Law,\\\" Loyola of Los " +#~ "Angeles Entertainment Law Journal 17 (1997): 651." +#~ msgstr "" +#~ "for en tidlig og forutseende analyse, kan du se rebecca tushnet, \\" +#~ "\"legal-fictions, copyright, fanfiction og en ny felles lov,\\\" loyola " +#~ "av los angeles underholdning law journal 17 (1997): 651." + +#~ msgid "" +#~ "Lynette Holloway, \\\"Despite a Marketing Blitz, CD Sales Continue to " +#~ "Slide,\\\" New York Times, 23 December 2002." +#~ msgstr "" +#~ "lynette holloway, \\\"til tross for en markedsføring blitz cd salg " +#~ "fortsette å skyve,\\\" new york times, 23 desember 2002." + +#~ msgid "" +#~ "Molly Ivins, \\\"Media Consolidation Must Be Stopped,\\\" Charleston " +#~ "Gazette, 31 May 2003." +#~ msgstr "" +#~ "Molly ivins, \\\"media konsolidering må stoppes,\\\" charleston gazette, " +#~ "31 kan 2003." + +#~ msgid "" +#~ "James Fallows, \\\"The Age of Murdoch,\\\" Atlantic Monthly (September " +#~ "2003): 89." +#~ msgstr "" +#~ "James fallows, \\\"en alder av murdoch,\\\" atlantic monthly (september " +#~ "2003): 89." + +#~ msgid "" +#~ "The network did not control those copyrights because the law forbade the " +#~ "networks from controlling the content they syndicated. The law required a " +#~ "separation between the networks and the content producers; that " +#~ "separation would guarantee Lear freedom. And as late as 1992, because of " +#~ "these rules, the vast majority of prime time television--75 percent of " +#~ "it--was \\\"independent\\\" of the networks." +#~ msgstr "" +#~ "nettverket ikke kontrollere m├Ñte av opphavsrettighetene fordi lov forbød " +#~ "nettverk fra controlling the content de skal grupperes. loven kreves et " +#~ "skille mellom nettverkene og innhold produsenter; at separasjon ville " +#~ "garantere lear frihet. og så sent som i 1992, på grunn av disse reglene, " +#~ "det store flertallet av prime-time TV--75 prosent av det--var \\" +#~ "\"uavhengige\\\" av nettverk." + +#~ msgid "" +#~ "Beginning in 1998, the Office of National Drug Control Policy launched a " +#~ "media campaign as part of the \\\"war on drugs.\\\" The campaign produced " +#~ "scores of short film clips about issues related to illegal drugs. In one " +#~ "series (the Nick and Norm series) two men are in a bar, discussing the " +#~ "idea of legalizing drugs as a way to avoid some of the collateral damage " +#~ "from the war. One advances an argument in favor of drug legalization. The " +#~ "other responds in a powerful and effective way against the argument of " +#~ "the first. In the end, the first guy changes his mind (hey, it's " +#~ "television). The plug at the end is a damning attack on the pro-" +#~ "legalization campaign." +#~ msgstr "" +#~ "starten i 1998, office of nasjonale narkotikapolitikken kontroll lansert " +#~ "en kampanje for media som en del av \\\"krigen mot narkotika.\\\" " +#~ "kampanjen produsert score til kort film klipp om problemer i forbindelse " +#~ "med illegale rusmidler. i én serie (nick og normen-serie) to menn er i en " +#~ "bar, diskuterer ideen om legalizing narkotika som en måte å unngå noen av " +#~ "sikkerhetsstillelse skade fra krigen. en avanserer et argument for " +#~ "narkotika legalization. de andre svarer på en kraftig og effektiv måte " +#~ "mot argumentet av første. til slutt, den første mann forandrer mening " +#~ "(Hei, det er TV). pluggen på slutten er en damning angrep på pro-" +#~ "legalization kampanjen." + +#~ msgid "" +#~ "There is something innocent and obvious about the claim of the copyright " +#~ "warriors that the government should \\\"protect my property.\\\" In the " +#~ "abstract, it is obviously true and, ordinarily, totally harmless. No sane " +#~ "sort who is not an anarchist could disagree." +#~ msgstr "" +#~ "Det er noe uskyldig og åpenbar om kravet om opphavsrett warriors at " +#~ "regjeringen bør \\\"beskytte min egenskapen.\\\" i abstrakt, det er " +#~ "åpenbart sann og, vanligvis helt ufarlig. Ingen forstandig sortering som " +#~ "ikke er en Anarkisten kan uenige." + +#~ msgid "" +#~ "But when we see how dramatically this \\\"property\\\" has changed-- when " +#~ "we recognize how it might now interact with both technology and markets " +#~ "to mean that the effective constraint on the liberty to cultivate our " +#~ "culture is dramatically different--the claim begins to seem less innocent " +#~ "and obvious. Given (1) the power of technology to supplement the law's " +#~ "control, and (2) the power of concentrated markets to weaken the " +#~ "opportunity for dissent, if strictly enforcing the massively expanded \\" +#~ "\"property\\\" rights granted by copyright fundamentally changes the " +#~ "freedom within this culture to cultivate and build upon our past, then we " +#~ "have to ask whether this property should be redefined." +#~ msgstr "" +#~ "men når vi ser hvor dramatisk denne \\\"property\\\" er endret--når vi " +#~ "innser hvor den kan nå kommunisere med både teknologi og markeder å bety " +#~ "at effektiv begrensningen på den frihet å dyrke vår kultur er dramatisk " +#~ "annerledes--kravet begynner å synes mindre uskyldig og åpenbar. gitt (1) " +#~ "den kraftige teknologi til å supplere lovens kontroll, og (2) makt " +#~ "konsentrert markeder for å svekke muligheten for dissens, hvis strengt " +#~ "håndheve massivt utvidet \\\"property\\\"-rettigheter som er gitt av " +#~ "copyright fundamentalt endres frihet i denne kulturen til å dyrke og " +#~ "bygge på vår fortid, så må vi spørre om denne egenskapen skal defineres." + +#~ msgid "" +#~ "It was the single most important contribution of the legal realist " +#~ "movement to demonstrate that all property rights are always crafted to " +#~ "balance public and private interests. See Thomas C. Grey, \\\"The " +#~ "Disintegration of Property,\\\" in Nomos XXII: Property, J. Roland " +#~ "Pennock and John W. Chapman, eds. (New York: New York University Press, " +#~ "1980)." +#~ msgstr "" +#~ "Det var enkelt viktigste bidrag av juridiske realist-bevegelse for å " +#~ "demonstrere at alle eiendomsrettigheter alltid er laget for å balansere " +#~ "offentlige og private interesser. se thomas c. grey, \\\"oppløsningen av " +#~ "eiendom,\\\" i nomos xxii: eiendom, j. roland pennock og john w. Chapman, " +#~ "Red. (new york: new york university press, 1980)." + +#~ msgid "" +#~ "We achieved that free culture because our law respected important limits " +#~ "on the scope of the interests protected by \\\"property.\\\" The very " +#~ "birth of \\\"copyright\\\" as a statutory right recognized those limits, " +#~ "by granting copyright owners protection for a limited time only (the " +#~ "story of chapter 6). The tradition of \\\"fair use\\\" is animated by a " +#~ "similar concern that is increasingly under strain as the costs of " +#~ "exercising any fair use right become unavoidably high (the story of " +#~ "chapter 7). Adding statutory rights where markets might stifle innovation " +#~ "is another familiar limit on the property right that copyright is " +#~ "(chapter 8). And granting archives and libraries a broad freedom to " +#~ "collect, claims of property notwithstanding, is a crucial part of " +#~ "guaranteeing the soul of a culture (chapter 9). Free cultures, like free " +#~ "markets, are built with property. But the nature of the property that " +#~ "builds a free culture is very different from the extremist vision that " +#~ "dominates the debate today." +#~ msgstr "" +#~ "Vi oppnådde at fri kultur fordi vår lov respektert viktig begrensninger " +#~ "på omfanget av interessene beskyttet av \\\"egenskapen.\\\" svært " +#~ "fødselen av \\\"copyright\\\" som en lovfestet rett gjenkjennes disse " +#~ "grensene, ved å gi eiere av opphavsretter beskyttelse for en begrenset " +#~ "tid bare (historien om kapittel 6). tradisjonen med \\\"fair use\\\" " +#~ "animert av et lignende problem som er stadig under press som kostnadene " +#~ "for å utøve noen rettferdig bruk høyre bli uunngåelig høy (historien om " +#~ "kapittel 7). legge lovbestemte rettigheter der markeder kan kveler " +#~ "innovasjon er en annen kjent grensen på eiendommen høyre at opphavsretten " +#~ "er (kapittel 8). og gi arkiver og biblioteker en bred frihet til å samle " +#~ "inn, påstander om egenskapen tross, er en avgjørende del av garanterer " +#~ "sjelen til en kultur (kapittel 9). gratis kulturer, som gratis markeder, " +#~ "er bygget med egenskapen. men innholdet i egenskapen som bygger en fri " +#~ "kultur er svært forskjellig fra ekstremistgrupper visjonen som dominerer " +#~ "debatten i dag." + +#~ msgid "" +#~ "H. G. Wells, \\\"The Country of the Blind\\\" (1904, 1911). See H. G. " +#~ "Wells, The Country of the Blind and Other Stories, Michael Sherborne, ed. " +#~ "(New York: Oxford University Press, 1996)." +#~ msgstr "" +#~ "h. g. wells, \\\"land for blind\\\" (1904, 1911). se h. g. wells, landet " +#~ "av blind og andre historier, michael sherborne, ed. (new york: oxford " +#~ "university press, 1996)." + +#~ msgid "" +#~ "Things don't go quite as he planned. He tries to explain the idea of " +#~ "sight to the villagers. They don't understand. He tells them they are \\" +#~ "\"blind.\\\" They don't have the word blind. They think he's just thick. " +#~ "Indeed, as they increasingly notice the things he can't do (hear the " +#~ "sound of grass being stepped on, for example), they increasingly try to " +#~ "control him. He, in turn, becomes increasingly frustrated. \\\"`You don't " +#~ "understand,' he cried, in a voice that was meant to be great and " +#~ "resolute, and which broke. `You are blind and I can see. Leave me " +#~ "alone!'\\\"" +#~ msgstr "" +#~ "ting går ikke helt som han har planlagt. han prøver å forklare ideen om " +#~ "synet til landsbyboere. de forstår ikke. Han forteller dem at de er \\" +#~ "\"blind.\\\" de ikke har word-blind. de tror han er bare tykk. faktisk, " +#~ "som de stadig mer merke tingene han ikke kan gjøre (høre lyden av gress å " +#~ "bli trappet på, for eksempel), de stadig prøver å kontrollere ham. han, i " +#~ "sin tur blir stadig mer frustrert. \\\"du ikke forstår, han gråt, i en " +#~ "stemme som var ment å være stor og resolutt, og som brøt. ' du er blind, " +#~ "og jeg kan se. La meg være! \\\"\\\"" + +#~ msgid "" +#~ "The villagers don't leave him alone. Nor do they see (so to speak) the " +#~ "virtue of his special power. Not even the ultimate target of his " +#~ "affection, a young woman who to him seems \\\"the most beautiful thing in " +#~ "the whole of creation,\\\" understands the beauty of sight. Nunez's " +#~ "description of what he sees \\\"seemed to her the most poetical of " +#~ "fancies, and she listened to his description of the stars and the " +#~ "mountains and her own sweet white-lit beauty as though it was a guilty " +#~ "indulgence.\\\" \\\"She did not believe,\\\" Wells tells us, and \\\"she " +#~ "could only half understand, but she was mysteriously delighted.\\\"" +#~ msgstr "" +#~ "landsbyboere la ikke ham være. heller ikke har de ser (så å si) kraft av " +#~ "sin spesielle kraft. ikke engang ultimate målet for hans hengivenhet, en " +#~ "ung kvinne som til ham synes \\\"det vakreste tingen i hele skapelse,\\\" " +#~ "forstår skjønnheten av syne. nunez's beskrivelse av det han ser \\" +#~ "\"syntes å henne de mest poetiske liker, og hun lyttet til hans " +#~ "beskrivelse av stjerner og fjellene og hennes egen søte hvite tent " +#~ "skjønnhet som om det var en skyldig overbærenhet.\\\" \\\"hun ikke tro,\\" +#~ "\" brønner forteller oss, og \\\"hun kunne bare halvparten forstår, men " +#~ "hun var mysteriously glad.\\\"" + +#~ msgid "" +#~ "When Nunez announces his desire to marry his \\\"mysteriously delighted\\" +#~ "\" love, the father and the village object. \\\"You see, my dear,\\\" her " +#~ "father instructs, \\\"he's an idiot. He has delusions. He can't do " +#~ "anything right.\\\" They take Nunez to the village doctor." +#~ msgstr "" +#~ "Når nunez kunngjør hans ønske om å gifte seg med hans \\\"mysteriously " +#~ "glad\\\" kjærlighet, Faderen og landsbyen-objekt. \\\"du se, min kjære,\\" +#~ "\" hennes far instruerer, \\\"han er en idiot. Han har delusions. han kan " +#~ "ikke gjøre noe høyre. \\\"de tar nunez til landsbyen legen." + +#~ msgid "" +#~ "After a careful examination, the doctor gives his opinion. \\\"His brain " +#~ "is affected,\\\" he reports." +#~ msgstr "" +#~ "etter en forsiktig eksamen gir legen sin mening. \\\"hans hjernen er " +#~ "berørt,\\\" rapporterer han." + +#~ msgid "" +#~ "\\\"What affects it?\\\" the father asks. \\\"Those queer things that " +#~ "are called the eyes . . . are diseased . . . in such a way as to affect " +#~ "his brain.\\\"" +#~ msgstr "" +#~ "\\\"hva påvirker det?\\\" spør Faderen. \\\"de skeiv ting som kalles " +#~ "øynene... er sykelig... på en måte som påvirker hans hjernen.\\\"" + +#~ msgid "" +#~ "The doctor continues: \\\"I think I may say with reasonable certainty " +#~ "that in order to cure him completely, all that we need to do is a simple " +#~ "and easy surgical operation--namely, to remove these irritant bodies [the " +#~ "eyes].\\\"" +#~ msgstr "" +#~ "legen fortsetter: \\\"Jeg tror jeg kan si med rimelig sikkerhet at for å " +#~ "helbrede ham helt, alt vi trenger å gjøre er en enkel og lett kirurgisk " +#~ "operasjon – nemlig å fjerne disse irriterende organer [øynene].\\\"" + +#~ msgid "" +#~ "\\\"Thank Heaven for science!\\\" says the father to the doctor. They " +#~ "inform Nunez of this condition necessary for him to be allowed his " +#~ "bride. (You'll have to read the original to learn what happens in the " +#~ "end. I believe in free culture, but never in giving away the end of a " +#~ "story.) It sometimes happens that the eggs of twins fuse in the mother's " +#~ "womb. That fusion produces a \\\"chimera.\\\" A chimera is a single " +#~ "creature with two sets of DNA. The DNA in the blood, for example, might " +#~ "be different from the DNA of the skin. This possibility is an underused " +#~ "plot for murder mysteries. \\\"But the DNA shows with 100 percent " +#~ "certainty that she was not the person whose blood was at the scene. . . ." +#~ "\\\"" +#~ msgstr "" +#~ "\\\"thank heaven for science!\\\", sier faren til legen. de informere " +#~ "nunez av denne tilstanden som er nødvendig for ham å være tillatt hans " +#~ "brud. (du må lese den opprinnelige Hvis du vil vite hva som skjer i " +#~ "slutten. jeg tror i fri kultur, men aldri i slutten av en historie for " +#~ "utdeling.) det skjer noen ganger at egg med tvillinger sikring i en mors " +#~ "mage. at fusion produserer en \\\"chimera.\\\" en chimera er en enkelt " +#~ "skapning med to sett med dna. dna i blodet, for eksempel, kan være " +#~ "forskjellig fra dna av huden. Denne muligheten er en underused tomten for " +#~ "mordet mysteriene. \\\"men dna viser med 100 prosent sikkerhet at hun " +#~ "ikke var personen med blod ble på scenen....\\\"" + +#~ msgid "" +#~ "Before I had read about chimeras, I would have said they were " +#~ "impossible. A single person can't have two sets of DNA. The very idea of " +#~ "DNA is that it is the code of an individual. Yet in fact, not only can " +#~ "two individuals have the same set of DNA (identical twins), but one " +#~ "person can have two different sets of DNA (a chimera). Our understanding " +#~ "of a \\\"person\\\" should reflect this reality." +#~ msgstr "" +#~ "før jeg hadde lest om regenererende, ville jeg sagt de var umulig. en " +#~ "enkelt person kan ikke ha to sett med dna. selve ideen om dna er at det " +#~ "er koden for en person. men faktisk, ikke bare kan to personer har samme " +#~ "sett med dna (identisk tvillinger), men en person kan ha to forskjellige " +#~ "sett med dna (en chimera). vår forståelse av en \\\"person\\\" skal " +#~ "gjenspeile denne virkeligheten." + +#~ msgid "" +#~ "The more I work to understand the current struggle over copyright and " +#~ "culture, which I've sometimes called unfairly, and sometimes not unfairly " +#~ "enough, \\\"the copyright wars,\\\" the more I think we're dealing with a " +#~ "chimera. For example, in the battle over the question \\\"What is p2p " +#~ "file sharing?\\\" both sides have it right, and both sides have it " +#~ "wrong. One side says, \\\"File sharing is just like two kids taping each " +#~ "others' records--the sort of thing we've been doing for the last thirty " +#~ "years without any question at all.\\\" That's true, at least in part. " +#~ "When I tell my best friend to try out a new CD that I've bought, but " +#~ "rather than just send the CD, I point him to my p2p server, that is, in " +#~ "all relevant respects, just like what every executive in every recording " +#~ "company no doubt did as a kid: sharing music." +#~ msgstr "" +#~ "Jo mer jeg arbeider for å forstå gjeldende kampen over copyright og " +#~ "kultur, som jeg har noen ganger kalt urettferdig, og noen ganger ikke " +#~ "urettferdig nok, \\\"copyright krigene,\\\" jo mer jeg tror vi arbeider " +#~ "med en chimera. for eksempel i strid om spørsmålet \\\"Hva er p2p " +#~ "fildeling?\\\" begge sider har det rett, og begge sider har det galt. ene " +#~ "siden sier, \\\"fildeling er akkurat som to barn taping hverandres " +#~ "poster--slags ting vi har gjort de siste tretti årene uten spørsmål ved " +#~ "alt.\\\" som er sann, i det minste delvis. Når jeg forteller min beste " +#~ "venn å prøve ut en ny cd som jeg har kjøpt, men i stedet for å bare sende " +#~ "cd, jeg peke ham til p2p-serveren, det vil si i alle relevante " +#~ "henseender, akkurat som hva hver executive i hver innspilling selskapet " +#~ "uten tvil gjorde som en unge: deling av musikk." + +#~ msgid "" +#~ "But the description is also false in part. For when my p2p server is on a " +#~ "p2p network through which anyone can get access to my music, then sure, " +#~ "my friends can get access, but it stretches the meaning of \\\"friends\\" +#~ "\" beyond recognition to say \\\"my ten thousand best friends\\\" can get " +#~ "access. Whether or not sharing my music with my best friend is what \\" +#~ "\"we have always been allowed to do,\\\" we have not always been allowed " +#~ "to share music with \\\"our ten thousand best friends.\\\"" +#~ msgstr "" +#~ "men beskrivelsen er også falske delvis. for når min p2p-serveren er på en " +#~ "p2p kan nettverk som alle kan få tilgang til min musikk, deretter sikker, " +#~ "mine venner kan få tilgang, men det strekker seg betydningen av \\\"venner" +#~ "\\\" det ugjenkjennelige å si \\\"mine ti tusen beste venner\\\" få " +#~ "tilgang. om dele min musikk med min beste venn er hva \\\"vi har alltid " +#~ "vært tillatt å gjøre,\\\" vi har ikke alltid vært tillatt å dele musikk " +#~ "med \\\"våre ti tusen beste venner.\\\"" + +#~ msgid "" +#~ "Likewise, when the other side says, \\\"File sharing is just like walking " +#~ "into a Tower Records and taking a CD off the shelf and walking out with " +#~ "it,\\\" that's true, at least in part. If, after Lyle Lovett (finally) " +#~ "releases a new album, rather than buying it, I go to Kazaa and find a " +#~ "free copy to take, that is very much like stealing a copy from Tower." +#~ msgstr "" +#~ "på samme måte når den andre siden, sier, \\\"fildeling er akkurat som å " +#~ "vandre inn i en tower records og tar en cd av sokkelen og vandre ut med " +#~ "det,\\\" som er sann, i det minste delvis. Hvis, etter at lyle lovett " +#~ "(endelig) slipper et nytt album, heller enn å kjøpe det, jeg går til " +#~ "kazaa og finne en gratis kopi til å ta, det er veldig mye som å stjele en " +#~ "kopi fra tårnet." + +#~ msgid "" +#~ "I'm not talking about the opportunities for kids to \\\"steal\\\" music. " +#~ "My focus instead is the commercial and cultural innovation that this war " +#~ "will also kill. We have never seen the power to innovate spread so " +#~ "broadly among our citizens, and we have just begun to see the innovation " +#~ "that this power will unleash. Yet the Internet has already seen the " +#~ "passing of one cycle of innovation around technologies to distribute " +#~ "content. The law is responsible for this passing. As the vice president " +#~ "for global public policy at one of these new innovators, eMusic.com, put " +#~ "it when criticizing the DMCA's added protection for copyrighted material," +#~ msgstr "" +#~ "Jeg snakker ikke om mulighetene for barn å \\\"stjele\\\" musikk. mitt " +#~ "fokus i stedet er kommersielle og kulturelle innovasjon som denne krigen " +#~ "vil også drepe. Vi har aldri sett makt til å skape noe nytt spredning så " +#~ "bredt blant våre borgere, og vi har bare begynt å se innovasjon som denne " +#~ "myndighet vil utløse. ennå har Internett allerede sett bestått av en " +#~ "syklus av innovasjon rundt teknologier for å distribuere innhold. loven " +#~ "er ansvarlig for denne bestått. som vice president for global public " +#~ "policy på en av disse nye innovators sette emusic.com, det når kritiserer " +#~ "dmca ekstra beskyttelse for opphavsrettsbeskyttet materiale," + +#~ msgid "" +#~ "In April 2001, eMusic.com was purchased by Vivendi Universal, one of \\" +#~ "\"the major labels.\\\" Its position on these matters has now changed." +#~ msgstr "" +#~ "i april 2001, ble emusic.com kjøpt av vivendi universal, en av \\\"den " +#~ "store etiketter.\\\" posisjonen på disse sakene er nå endret." + +#~ msgid "" +#~ "To fight \\\"piracy,\\\" to protect \\\"property,\\\" the content " +#~ "industry has launched a war. Lobbying and lots of campaign contributions " +#~ "have now brought the government into this war. As with any war, this one " +#~ "will have both direct and collateral damage. As with any war of " +#~ "prohibition, these damages will be suffered most by our own people." +#~ msgstr "" +#~ "for å bekjempe \\\"piratkopiering\\\", for å beskytte \\\"eiendom\\\" har " +#~ "innhold industrien lansert en krig. Lobbying og massevis av kampanjen " +#~ "bidrag har nå ført regjeringen i denne krigen. som med noen krig, vil " +#~ "dette ha både direkte og sikkerhetsstillelse skade. som med noen krig av " +#~ "forbudet, vil disse skader bli rammet mest av våre egne folk." + +#~ msgid "" +#~ "My aim so far has been to describe the consequences of this war, in " +#~ "particular, the consequences for \\\"free culture.\\\" But my aim now is " +#~ "to extend this description of consequences into an argument. Is this war " +#~ "justified?" +#~ msgstr "" +#~ "Målet mitt hittil har vært å beskrive konsekvensene av denne krigen, " +#~ "spesielt konsekvenser for \\\"gratis kultur.\\\" men min målet nå er å " +#~ "utvide denne beskrivelsen av konsekvenser til et argument. er denne " +#~ "krigen rettferdiggjøres?" + +#~ msgid "" +#~ "In my view, it is not. There is no good reason why this time, for the " +#~ "first time, the law should defend the old against the new, just when the " +#~ "power of the property called \\\"intellectual property\\\" is at its " +#~ "greatest in our history." +#~ msgstr "" +#~ "i min mening er det ikke. Det er ingen god grunn hvorfor denne gangen, " +#~ "for første gang, loven skal forsvare gamle mot den nye, bare når strømmen " +#~ "av egenskap kalt \\\"intellectual property\\\" er på sitt største i vår " +#~ "historie." + +#~ msgid "" +#~ "Yet \\\"common sense\\\" does not see it this way. Common sense is still " +#~ "on the side of the Causbys and the content industry. The extreme claims " +#~ "of control in the name of property still resonate; the uncritical " +#~ "rejection of \\\"piracy\\\" still has play." +#~ msgstr "" +#~ "ennå se \\\"sunn fornuft\\\" ikke det på denne måten. sunn fornuft er " +#~ "fortsatt på siden av causbys og innhold industrien. ekstreme krav til " +#~ "kontroll i navnet på egenskapen fortsatt appellerer; ukritisk avvisningen " +#~ "av \\\"piratkopiering\\\" har fortsatt spille." + +#~ msgid "" +#~ "This digital \\\"capturing and sharing\\\" is in part an extension of the " +#~ "capturing and sharing that has always been integral to our culture, and " +#~ "in part it is something new. It is continuous with the Kodak, but it " +#~ "explodes the boundaries of Kodak-like technologies. The technology of " +#~ "digital \\\"capturing and sharing\\\" promises a world of extraordinarily " +#~ "diverse creativity that can be easily and broadly shared. And as that " +#~ "creativity is applied to democracy, it will enable a broad range of " +#~ "citizens to use technology to express and criticize and contribute to the " +#~ "culture all around." +#~ msgstr "" +#~ "Denne digitale \\\"fange og deling\\\" er delvis en utvidelse for å " +#~ "registrere og dele det har alltid vært del av vår kultur, og delvis det " +#~ "er noe nytt. den er kontinuerlig med kodak, men den eksploderer grensene " +#~ "for kodak-lignende teknologier. teknologi for digital \\\"fange og deling " +#~ "av\\\" løfter en verden av svært mangfoldig kreativitet som kan enkelt og " +#~ "forstand deles. og så at kreativiteten brukes til demokrati, det vil " +#~ "muliggjøre et bredt spekter av borgere å bruke teknologi for å uttrykke " +#~ "og kritisere og bidra til kultur rundt." + +#~ msgid "" +#~ "Judges and lawyers can tell themselves that fair use provides adequate \\" +#~ "\"breathing room\\\" between regulation by the law and the access the law " +#~ "should allow. But it is a measure of how out of touch our legal system " +#~ "has become that anyone actually believes this. The rules that publishers " +#~ "impose upon writers, the rules that film distributors impose upon " +#~ "filmmakers, the rules that newspapers impose upon journalists-- these are " +#~ "the real laws governing creativity. And these rules have little " +#~ "relationship to the \\\"law\\\" with which judges comfort themselves." +#~ msgstr "" +#~ "dommere og advokater kan fortelle seg selv at fair use gir tilstrekkelig " +#~ "\\\"puste rommet\\\" mellom regulering av loven, og access loven skal " +#~ "tillate. men det er et mål på hvor ute av touch vår juridiske systemet " +#~ "har blitt noen faktisk mener dette. reglene som utgivere legger på " +#~ "forfattere, reglene som trevare legger på filmskapere, reglene at aviser " +#~ "legger på journalister--disse er de virkelige lovene som regulerer " +#~ "kreativitet. og disse reglene har lite i forhold til \\\"loven\\\" med " +#~ "hvilken dommere trøste seg." + +#~ msgid "" +#~ "For in a world that threatens $150,000 for a single willful infringement " +#~ "of a copyright, and which demands tens of thousands of dollars to even " +#~ "defend against a copyright infringement claim, and which would never " +#~ "return to the wrongfully accused defendant anything of the costs she " +#~ "suffered to defend her right to speak--in that world, the astonishingly " +#~ "broad regulations that pass under the name \\\"copyright\\\" silence " +#~ "speech and creativity. And in that world, it takes a studied blindness " +#~ "for people to continue to believe they live in a culture that is free." +#~ msgstr "" +#~ "for i en verden som truer $150.000 for en enkelt willful brudd på " +#~ "opphavsretten, og som krever titusenvis av dollar til selv forsvar mot " +#~ "opphavsrettsstridig krav, og som ville aldri tilbake til wrongfully " +#~ "anklaget saksøkte noe av kostnadene lidd hun for å forsvare sin rett til " +#~ "å snakke--i denne verden, astonishingly bred regelverket at pass under " +#~ "navnet \\\"copyright\\\" stillhet tale og kreativitet. og i denne verden, " +#~ "det tar en studert blindhet for folk å fortsette å tro de bor i en kultur " +#~ "som er gratis." + +#~ msgid "" +#~ "We're losing [creative] opportunities right and left. Creative people are " +#~ "being forced not to express themselves. Thoughts are not being expressed. " +#~ "And while a lot of stuff may [still] be created, it still won't get " +#~ "distributed. Even if the stuff gets made . . . you're not going to get it " +#~ "distributed in the mainstream media unless you've got a little note from " +#~ "a lawyer saying, \\\"This has been cleared.\\\" You're not even going to " +#~ "get it on PBS without that kind of permission. That's the point at which " +#~ "they control it." +#~ msgstr "" +#~ "Vi miste [kreative] muligheter høyre og venstre. kreative mennesker blir " +#~ "tvunget ikke til å uttrykke seg. tanker er ikke angitt. og mens mange " +#~ "ting kan [fortsatt] opprettes, den fremdeles ikke får distribuert. Selv " +#~ "om ting blir gjort... du ikke kommer til å få det distribueres i " +#~ "mainstream media, med mindre du har et lite notat fra en advokat sier, \\" +#~ "\"Dette er tømt.\\\" du skal ikke engang få det på pbs uten den typen " +#~ "tillatelse. Det er poenget som de kontrollen." + +#~ msgid "" +#~ "But there's an aspect of this story that is not lefty in any sense. " +#~ "Indeed, it is an aspect that could be written by the most extreme " +#~ "promarket ideologue. And if you're one of these sorts (and a special one " +#~ "at that, 188 pages into a book like this), then you can see this other " +#~ "aspect by substituting \\\"free market\\\" every place I've spoken of \\" +#~ "\"free culture.\\\" The point is the same, even if the interests " +#~ "affecting culture are more fundamental." +#~ msgstr "" +#~ "men det er en del av denne historien ikke er lefty i noen betydning. Det " +#~ "er faktisk et aspekt som kan være skrevet av den mest ekstreme promarket " +#~ "ideologue. og hvis du er en av disse sorterer (og en spesiell en på at " +#~ "188 sider i en bok som dette), så du kan se dette andre aspekter ved å " +#~ "erstatte \\\"fritt marked\\\" hvert sted som jeg har omtalt \\\"gratis " +#~ "kultur.\\\" poenget er det samme, selv om interesser som påvirker kultur " +#~ "er mer grunnleggende." + +#~ msgid "" +#~ "This is the single most dramatic effect of the shift in regulatory " +#~ "strategy that I described in chapter 10. The consequence of this massive " +#~ "threat of liability tied to the murky boundaries of copyright law is that " +#~ "innovators who want to innovate in this space can safely innovate only if " +#~ "they have the sign-off from last generation's dominant industries. That " +#~ "lesson has been taught through a series of cases that were designed and " +#~ "executed to teach venture capitalists a lesson. That lesson--what former " +#~ "Napster CEO Hank Barry calls a \\\"nuclear pall\\\" that has fallen over " +#~ "the Valley--has been learned." +#~ msgstr "" +#~ "Dette er single mest dramatiske effekten av skiftet i regulatoriske " +#~ "strategi som jeg beskrevet i kapittel 10. konsekvens av denne massiv " +#~ "trussel av ansvar knyttet til skummel grensene om opphavsrett er at " +#~ "innovators som ønsker å skape noe nytt i denne plassen kan trygt innovate " +#~ "bare hvis de har avlogging fra siste generasjon dominerende bransjer. " +#~ "denne leksjonen har lært gjennom en rekke tilfeller som ble utformet og " +#~ "utført for å lære venture kapitalister en leksjon. denne leksjonen--hva " +#~ "tidligere napster ceo hank barry kaller en \\\"kjernefysisk pall\\\" som " +#~ "har falt over dalen--har blitt lært." + +#~ msgid "" +#~ "This is the world of the mafia--filled with \\\"your money or your life\\" +#~ "\" offers, governed in the end not by courts but by the threats that the " +#~ "law empowers copyright holders to exercise. It is a system that will " +#~ "obviously and necessarily stifle new innovation. It is hard enough to " +#~ "start a company. It is impossibly hard if that company is constantly " +#~ "threatened by litigation." +#~ msgstr "" +#~ "Dette er verden av mafiaen--fylt med \\\"penger eller livet\\\" tilbyr, " +#~ "reguleres av domstolene men av trusler at loven gir innehaver av " +#~ "opphavsrett til å utøve til slutt. Det er et system som vil åpenbart og " +#~ "nødvendigvis kveler ny innovasjon. Det er vanskelig nok å starte et " +#~ "selskap. Det er impossibly vanskelig hvis selskapet er stadig truet av " +#~ "søksmål." + +#~ msgid "" +#~ "The point is not that businesses should have a right to start illegal " +#~ "enterprises. The point is the definition of \\\"illegal.\\\" The law is a " +#~ "mess of uncertainty. We have no good way to know how it should apply to " +#~ "new technologies. Yet by reversing our tradition of judicial deference, " +#~ "and by embracing the astonishingly high penalties that copyright law " +#~ "imposes, that uncertainty now yields a reality which is far more " +#~ "conservative than is right. If the law imposed the death penalty for " +#~ "parking tickets, we'd not only have fewer parking tickets, we'd also have " +#~ "much less driving. The same principle applies to innovation. If " +#~ "innovation is constantly checked by this uncertain and unlimited " +#~ "liability, we will have much less vibrant innovation and much less " +#~ "creativity." +#~ msgstr "" +#~ "Poenget er ikke at virksomheter bør ha rett til å starte ulovlig " +#~ "bedrifter. Poenget er definisjonen av \\\"ulovlig.\\\" loven er et rot av " +#~ "usikkerhet. Vi har ingen god måte å vite hvordan den skal brukes på nye " +#~ "teknologier. ennå gir ved å snu vår tradisjon av juridisk deference, og " +#~ "ved å omfavne de astonishingly høyt straffene som pålegger lov om " +#~ "opphavsrett, det usikkerheten nå en realitet som er langt mer " +#~ "konservative enn det som er rett. Hvis loven pålagt dødsstraff for " +#~ "parkering billetter, vi ville ikke bare ha færre parkering billetter, " +#~ "ville vi også ha mye mindre kjøring. det samme prinsippet gjelder for " +#~ "innovasjon. Hvis innovasjon er stadig kontrolleres av denne usikker og " +#~ "ubegrenset ansvar, har vi mye mindre levende innovasjon og mye mindre " +#~ "kreativitet." + +#~ msgid "" +#~ "The point is directly parallel to the crunchy-lefty point about fair use. " +#~ "Whatever the \\\"real\\\" law is, realism about the effect of law in both " +#~ "contexts is the same. This wildly punitive system of regulation will " +#~ "systematically stifle creativity and innovation. It will protect some " +#~ "industries and some creators, but it will harm industry and creativity " +#~ "generally. Free market and free culture depend upon vibrant competition. " +#~ "Yet the effect of the law today is to stifle just this kind of " +#~ "competition. The effect is to produce an overregulated culture, just as " +#~ "the effect of too much control in the market is to produce an " +#~ "overregulatedregulated market." +#~ msgstr "" +#~ "Poenget er direkte parallell til crunchy lefty punktet om fair use. " +#~ "Uansett \\\"ekte\\\" loven er, er realisme om effekten av loven i begge " +#~ "sammenhenger den samme. Denne vill straffende system av regulering vil " +#~ "systematisk kveler kreativitet og innovasjon. den vil beskytte noen " +#~ "bransjer og noen skapere, men det vil skade industri og kreativitet " +#~ "generelt. fritt marked og fri kultur, avhenger av levende konkurranse. " +#~ "enda er virkningen av loven i dag å undertrykke akkurat denne type " +#~ "konkurranse. effekten er å produsere en overregulated kultur, akkurat som " +#~ "effekten av for mye kontroll i markedet er å produsere en " +#~ "overregulatedregulated markedet." + +#~ msgid "" +#~ "The motivation for this response is obvious. The Internet enables the " +#~ "efficient spread of content. That efficiency is a feature of the " +#~ "Internet's design. But from the perspective of the content industry, this " +#~ "feature is a \\\"bug.\\\" The efficient spread of content means that " +#~ "content distributors have a harder time controlling the distribution of " +#~ "content. One obvious response to this efficiency is thus to make the " +#~ "Internet less efficient. If the Internet enables \\\"piracy,\\\" then, " +#~ "this response says, we should break the kneecaps of the Internet." +#~ msgstr "" +#~ "motivasjon for dette svaret er åpenbart. Internett gjør det mulig for " +#~ "effektiv spredning av innhold. at effektiviteten er en funksjon av " +#~ "internetts design. men fra perspektiv av innhold industrien, denne " +#~ "funksjonen er en \\\"bug.\\\" effektiv spredning av innhold betyr at " +#~ "innhold distributører har en hardere tid kontrollere distribusjon av " +#~ "innhold. ettall åpenbare svaret å denne effektiviteten er derfor å gjøre " +#~ "Internett mindre effektivt. Hvis Internett gjør at \\\"piratkopiering\\" +#~ "\", deretter dette svaret sier, vi bør bryte kneecaps av Internett." + +#~ msgid "" +#~ "See David McGuire, \\\"Tech Execs Square Off Over Piracy,\\\" Newsbytes, " +#~ "February 2002 (Entertainment)." +#~ msgstr "" +#~ "se david mcguire, \\\"tech execs torget off over piratkopiering,\\\" " +#~ "newsbytes, februar 2002 (underholdning)." + +#~ msgid "" +#~ "As I described in chapter 4, when a radio station plays a song, the " +#~ "recording artist doesn't get paid for that \\\"radio performance\\\" " +#~ "unless he or she is also the composer. So, for example if Marilyn Monroe " +#~ "had recorded a version of \\\"Happy Birthday\\\"--to memorialize her " +#~ "famous performance before President Kennedy at Madison Square Garden-- " +#~ "then whenever that recording was played on the radio, the current " +#~ "copyright owners of \\\"Happy Birthday\\\" would get some money, whereas " +#~ "Marilyn Monroe would not." +#~ msgstr "" +#~ "som jeg beskrevet i kapittel 4, når en radiostasjon spiller en sang, får " +#~ "ikke innspillingen artisten betalt for at \\\"radio ytelse\\\" med mindre " +#~ "han eller hun er også komponisten. så, for eksempel hvis marilyn monroe " +#~ "hadde spilt inn en versjon av \\\"happy birthday\\\"--for å memorialize " +#~ "sin berømte opptreden før president kennedy i madison square garden--" +#~ "deretter når denne innspillingen ble spilt på radio, gjeldende " +#~ "opphavsrett eierne av \\\"happy birthday\\\" ville få noen penger, mens " +#~ "marilyn monroe ville ikke." + +#~ msgid "" +#~ "Enter Internet radio. Like regular radio, Internet radio is a technology " +#~ "to stream content from a broadcaster to a listener. The broadcast travels " +#~ "across the Internet, not across the ether of radio spectrum. Thus, I can " +#~ "\\\"tune in\\\" to an Internet radio station in Berlin while sitting in " +#~ "San Francisco, even though there's no way for me to tune in to a regular " +#~ "radio station much beyond the San Francisco metropolitan area." +#~ msgstr "" +#~ "Skriv inn Internett-radio. som vanlige radio er Internett-radio en " +#~ "teknologi å direktesende innhold fra en kringkasteren til en lytter. " +#~ "kringkastingen reiser over Internett, ikke på tvers av Eter av radio " +#~ "spectrum. Således, jeg kan \\\"stille inn\\\" til Internett-" +#~ "radiostasjonen i berlin mens du sitter i san francisco, selv om det er " +#~ "ingen måte for meg å stille inn på en vanlig radiostasjon langt utover " +#~ "san francisco metropolitan area." + +#~ msgid "" +#~ "But here the power of the lobbyists is reversed. Internet radio is a new " +#~ "industry. The recording artists, on the other hand, have a very powerful " +#~ "lobby, the RIAA. Thus when Congress considered the phenomenon of Internet " +#~ "radio in 1995, the lobbyists had primed Congress to adopt a different " +#~ "rule for Internet radio than the rule that applies to terrestrial radio. " +#~ "While terrestrial radio does not have to pay our hypothetical Marilyn " +#~ "Monroe when it plays her hypothetical recording of \\\"Happy Birthday\\\" " +#~ "on the air, Internet radio does. Not only is the law not neutral toward " +#~ "Internet radio--the law actually burdens Internet radio more than it " +#~ "burdens terrestrial radio." +#~ msgstr "" +#~ "men her kraften i lobbyister tilbakeføres. Internett-radio er en ny " +#~ "industri. artister, derimot, har en svært kraftig lobby, riaa. dermed " +#~ "hadde Kongressen vurdert når fenomenet Internett-radio i 1995, lobbyister " +#~ "primed Kongressen å adoptere en annen regel for Internett-radio enn " +#~ "regelen som gjelder bakkesendte radio. mens bakkesendte radio ikke " +#~ "trenger å betale våre hypotetisk marilyn monroe når den spilles hennes " +#~ "hypotetisk innspillingen av \\\"happy birthday\\\" på luften, Internett-" +#~ "radio gjør. ikke bare er loven ikke nøytral mot Internett-radio--loven " +#~ "faktisk byrder Internettradio mer enn det byrder bakkesendte radio." + +#~ msgid "" +#~ "The RIAA, which was representing the record labels, presented some " +#~ "testimony about what they thought a willing buyer would pay to a willing " +#~ "seller, and it was much higher. It was ten times higher than what radio " +#~ "stations pay to perform the same songs for the same period of time. And " +#~ "so the attorneys representing the webcasters asked the RIAA, . . . \\" +#~ "\"How do you come up with a rate that's so much higher? Why is it worth " +#~ "more than radio? Because here we have hundreds of thousands of webcasters " +#~ "who want to pay, and that should establish the market rate, and if you " +#~ "set the rate so high, you're going to drive the small webcasters out of " +#~ "business. . . .\\\"" +#~ msgstr "" +#~ "riaa, som var som representerer plateselskapene, presentert noen " +#~ "vitnesbyrd om hva de tenkte en villig kjøper betaler til en villig " +#~ "selger, og det var mye høyere. Det var ti ganger høyere enn hva " +#~ "radiostasjoner betale for å utføre de samme sangene i samme periode av " +#~ "tid. og så advokater som representerer webcasters spurte riaa... \\" +#~ "\"hvordan kan du komme opp med en hastighet som er så mye høyere? Hvorfor " +#~ "er det verdt mer enn radio? fordi her har vi hundretusener av webcasters " +#~ "som ønsker å betale, og som bør etablere markedet rate, og hvis du angir " +#~ "satsen så høyt, du kommer til å drive små webcasters ut av business.... \\" +#~ "\"" + +#~ msgid "" +#~ "And the RIAA experts said, \\\"Well, we don't really model this as an " +#~ "industry with thousands of webcasters, we think it should be an industry " +#~ "with, you know, five or seven big players who can pay a high rate and " +#~ "it's a stable, predictable market.\\\" (Emphasis added.)" +#~ msgstr "" +#~ "og riaa eksperter sa, \\\"Vel, vi ikke virkelig modell dette som industri " +#~ "med tusenvis av webcasters, vi tror det bør være en bransje med, du vet, " +#~ "fem eller sju store spillere som kan betale en høy hastighet, og det er " +#~ "en stabil, forutsigbar marked.\\\" (vekt legges)." + +#~ msgid "" +#~ "Alex Pham, \\\"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\\\" " +#~ "Los Angeles Times, 10 September 2003, Business." +#~ msgstr "" +#~ "Alex pham, \\\"etikettene streik tilbake: ny jente settles riaa tilfelle," +#~ "\\\" los angeles times, 10 september 2003, business." + +#~ msgid "" +#~ "Jeffrey A. Miron and Jeffrey Zwiebel, \\\"Alcohol Consumption During " +#~ "Prohibition,\\\" American Economic Review 81, no. 2 (1991): 242." +#~ msgstr "" +#~ "Jeffrey a. miron og jeffrey zwiebel, \\\"alkoholforbruk under " +#~ "forbudstiden,\\\" amerikanske økonomiske anmeldelse 81, no. 2 (1991): 242." + +#~ msgid "" +#~ "See James Andreoni, Brian Erard, and Jonathon Feinstein, \\\"Tax " +#~ "Compliance,\\\" Journal of Economic Literature 36 (1998): 818 (survey of " +#~ "compliance literature)." +#~ msgstr "" +#~ "se james andreoni, brian Eberhard og jonathon feinstein, \\\"skatt " +#~ "samsvar,\\\" journal av økonomiske litteratur 36 (1998): 818 " +#~ "(undersøkelse av samsvar litteratur)." + +#~ msgid "" +#~ "This state of affairs is not without consequence. It is a particularly " +#~ "salient issue for teachers like me, whose job it is to teach law students " +#~ "about the importance of \\\"ethics.\\\" As my colleague Charlie Nesson " +#~ "told a class at Stanford, each year law schools admit thousands of " +#~ "students who have illegally downloaded music, illegally consumed alcohol " +#~ "and sometimes drugs, illegally worked without paying taxes, illegally " +#~ "driven cars. These are kids for whom behaving illegally is increasingly " +#~ "the norm. And then we, as law professors, are supposed to teach them how " +#~ "to behave ethically--how to say no to bribes, or keep client funds " +#~ "separate, or honor a demand to disclose a document that will mean that " +#~ "your case is over. Generations of Americans--more significantly in some " +#~ "parts of America than in others, but still, everywhere in America today--" +#~ "can't live their lives both normally and legally, since \\\"normally\\\" " +#~ "entails a certain degree of illegality." +#~ msgstr "" +#~ "denne tilstanden av saker er ikke uten konsekvens. Det er en spesielt " +#~ "fremtredende spørsmålet for lærere som meg, hvis jobb er det å undervise " +#~ "law studenter om betydningen av \\\"etikk.\\\" som min kollega charlie " +#~ "nesson fortalte en klasse ved stanford, hvert år lov skoler innrømme " +#~ "tusenvis av studentene som har ulovlig lastet ned musikk, ulovlig " +#~ "konsumert alkohol og noen ganger narkotika, ulovlig arbeidet uten å " +#~ "betale skatt, ulovlig drevet biler. disse er barna som oppfører seg " +#~ "ulovlig er stadig normen. og deretter vi, som loven professorer, skal " +#~ "lære dem hvordan å oppføre seg etisk--hvordan å si nei til bestikkelser, " +#~ "holde klienten midler atskilt eller ære et krav til å avsløre et dokument " +#~ "som betyr at ditt tilfelle er over. generasjoner av amerikanere--mer " +#~ "betydelig i enkelte deler av Amerika enn i andre, men likevel, overalt i " +#~ "Amerika i dag--ikke kan lever sine liv både normalt og lovlig, siden \\" +#~ "\"normalt\\\" innebærer en viss grad av illegality." + +#~ msgid "" +#~ "My point is instead one that democracies understood for generations, but " +#~ "that we recently have learned to forget. The rule of law depends upon " +#~ "people obeying the law. The more often, and more repeatedly, we as " +#~ "citizens experience violating the law, the less we respect the law. " +#~ "Obviously, in most cases, the important issue is the law, not respect for " +#~ "the law. I don't care whether the rapist respects the law or not; I want " +#~ "to catch and incarcerate the rapist. But I do care whether my students " +#~ "respect the law. And I do care if the rules of law sow increasing " +#~ "disrespect because of the extreme of regulation they impose. Twenty " +#~ "million Americans have come of age since the Internet introduced this " +#~ "different idea of \\\"sharing.\\\" We need to be able to call these " +#~ "twenty million Americans \\\"citizens,\\\" not \\\"felons.\\\"" +#~ msgstr "" +#~ "Mitt poeng er i stedet en som demokratier forstått i generasjoner, men " +#~ "som vi nylig har lært å glemme. rettssikkerhet, er avhengig av folk som " +#~ "følge loven. Jo oftere og mer gjentatte ganger, vi som borgere oppleve " +#~ "brudd på loven, jo mindre vi respekterer loven. Tydeligvis, i de fleste " +#~ "tilfeller, det viktige spørsmålet er lov, ikke respekt for loven. jeg " +#~ "ikke bryr seg om voldtektsforbryter respekterer loven eller ikke; Jeg " +#~ "ønsker å fange og fengsle voldtektsforbryter. men jeg bryr seg om mine " +#~ "studenter respekterer loven. og jeg bryr seg Hvis reglene for loven purke " +#~ "økende aktelse på grunn av ekstreme regulering de innføre. fem millioner " +#~ "amerikanere har kommet av alder siden Internett innført denne annen ide " +#~ "om \\\"deling.\\\" vi trenger å kunne ringe disse fem millioner " +#~ "amerikanere \\\"borgere,\\\" ikke \\\"felons\\\"." + +#~ msgid "" +#~ "We all own CDs. Many of us still own phonograph records. These pieces of " +#~ "plastic encode music that in a certain sense we have bought. The law " +#~ "protects our right to buy and sell that plastic: It is not a copyright " +#~ "infringement for me to sell all my classical records at a used record " +#~ "store and buy jazz records to replace them. That \\\"use\\\" of the " +#~ "recordings is free." +#~ msgstr "" +#~ "vi alle egne CDer. mange av oss fortsatt eier fonograf poster. disse " +#~ "bitene av plast kode musikk at i en viss forstand vi har kjøpt. loven " +#~ "beskytter vår rett til å kjøpe og selge den plasten: det er ikke en " +#~ "krenkelse av opphavsrett for meg å selge min klassisk poster på en brukte " +#~ "platebutikk og kjøpe jazz poster hvis du vil erstatte dem. \\\"Bruk\\\" " +#~ "av opptak er gratis." + +#~ msgid "" +#~ "But as the MP3 craze has demonstrated, there is another use of phonograph " +#~ "records that is effectively free. Because these recordings were made " +#~ "without copy-protection technologies, I am \\\"free\\\" to copy, or \\" +#~ "\"rip,\\\" music from my records onto a computer hard disk. Indeed, Apple " +#~ "Corporation went so far as to suggest that \\\"freedom\\\" was a right: " +#~ "In a series of commercials, Apple endorsed the \\\"Rip, Mix, Burn\\\" " +#~ "capacities of digital technologies." +#~ msgstr "" +#~ "men som mp3-Mani har vist, er det en annen bruk av fonogram som er " +#~ "effektivt gratis. Disse opptakene ble gjort uten kopibeskyttelse " +#~ "teknologier, og jeg er det \\\"gratis\\\" for å kopiere eller \\\"rip\\\" " +#~ "musikk fra min poster på en harddisk på datamaskinen. faktisk apple " +#~ "corporation gikk så langt som å foreslå at \\\"friheten\\\" var en rett: " +#~ "i en rekke reklamefilmer, apple godkjent \\\"rip, mikse, brenne\\\" " +#~ "kapasiteter digitale teknologier." + +#~ msgid "" +#~ "This \\\"use\\\" of my records is certainly valuable. I have begun a " +#~ "large process at home of ripping all of my and my wife's CDs, and storing " +#~ "them in one archive. Then, using Apple's iTunes, or a wonderful program " +#~ "called Andromeda, we can build different play lists of our music: Bach, " +#~ "Baroque, Love Songs, Love Songs of Significant Others--the potential is " +#~ "endless. And by reducing the costs of mixing play lists, these " +#~ "technologies help build a creativity with play lists that is itself " +#~ "independently valuable. Compilations of songs are creative and meaningful " +#~ "in their own right." +#~ msgstr "" +#~ "Denne \\\"Bruk\\\" av min poster er absolutt verdifull. Jeg har begynt en " +#~ "stor prosess hjemme med ripping av alle mine og min kones CDer, og lagre " +#~ "dem i en arkiv. deretter bruker Apples itunes eller en praktfull program " +#~ "kalt andromeda, kan vi bygge forskjellige spillelister over våre musikk: " +#~ "bach, barokk, love songs, love songs av betydelige andre--potensialet er " +#~ "uendelige. og ved å redusere kostnadene ved å blande spillelister, disse " +#~ "teknologier hjelpe bygge en kreativitet med spille lister som selv er " +#~ "uavhengig verdifull. samlinger av sanger er kreative og meningsfull i " +#~ "egen rett." + +#~ msgid "" +#~ "If these technologies took off, then the building of large archives of " +#~ "your own music would become quite difficult. You might hang in hacker " +#~ "circles, and get technology to disable the technologies that protect the " +#~ "content. Trading in those technologies is illegal, but maybe that doesn't " +#~ "bother you much. In any case, for the vast majority of people, these " +#~ "protection technologies would effectively destroy the archiving use of " +#~ "CDs. The technology, in other words, would force us all back to the world " +#~ "where we either listened to music by manipulating pieces of plastic or " +#~ "were part of a massively complex \\\"digital rights management\\\" system." +#~ msgstr "" +#~ "Hvis disse teknologiene tok av, ville og bygging av store arkiver av din " +#~ "egen musikk bli ganske vanskelig. Du kan henge i hacker sirkler, og få " +#~ "teknologi for å deaktivere teknologier som beskytter innholdet. handel i " +#~ "disse teknologiene er ulovlig, men kanskje som bry ikke deg mye. i alle " +#~ "fall for de aller fleste mennesker ville disse beskyttelse teknologiene " +#~ "effektivt ødelegge arkivering bruk av CDer. teknologi, med andre ord, vil " +#~ "tvinge oss alle tilbake til verden der vi lyttet til musikk ved å " +#~ "manipulere stykker av plast eller var del av en svært kompleks \\" +#~ "\"digital rights management\\\" systemet." + +#~ msgid "" +#~ "It is understandable why they choose as they do. It is not understandable " +#~ "why we as a democracy continue to choose as we do. Jack Valenti is " +#~ "charming; but not so charming as to justify giving up a tradition as deep " +#~ "and important as our tradition of free culture. There's one more aspect " +#~ "to this corruption that is particularly important to civil liberties, and " +#~ "follows directly from any war of prohibition. As Electronic Frontier " +#~ "Foundation attorney Fred von Lohmann describes, this is the \\" +#~ "\"collateral damage\\\" that \\\"arises whenever you turn a very large " +#~ "percentage of the population into criminals.\\\" This is the collateral " +#~ "damage to civil liberties generally." +#~ msgstr "" +#~ "Det er forståelig hvorfor de velger som de gjør. Det er ikke forståelig " +#~ "hvorfor vi som et demokrati fortsette å velge som vi gjør. Jack valenti " +#~ "er sjarmerende; men ikke så sjarmerende som å rettferdiggjøre å gi opp en " +#~ "tradisjon som dypt og viktig som vår tradisjon for fri kultur. Det er en " +#~ "mer aspekt til dette kan føre til minnefeil som er spesielt viktig for " +#~ "borgerrettigheter, og følger direkte fra noen krig av forbudet. som " +#~ "electronic frontier foundation advokat fred von sang beskriver, dette er " +#~ "den \\\"sikkerhetsstillelse skaden\\\" som \\\"oppstår når du slår en " +#~ "veldig stor prosentandel av befolkningen i kriminelle.\\\" Dette er " +#~ "sikkerhetsstillelse skader på borgerrettigheter vanligvis." + +#~ msgid "" +#~ "\\\"If you can treat someone as a putative lawbreaker,\\\" von Lohmann " +#~ "explains," +#~ msgstr "" +#~ "\\\"Hvis du kan behandle noen som en antatte lawbreaker,\\\" forklarer " +#~ "von sang," + +#~ msgid "" +#~ "then all of a sudden a lot of basic civil liberty protections evaporate " +#~ "to one degree or another. . . . If you're a copyright infringer, how can " +#~ "you hope to have any privacy rights? If you're a copyright infringer, how " +#~ "can you hope to be secure against seizures of your computer? How can you " +#~ "hope to continue to receive Internet access? . . . Our sensibilities " +#~ "change as soon as we think, \\\"Oh, well, but that person's a criminal, a " +#~ "lawbreaker.\\\" Well, what this campaign against file sharing has done is " +#~ "turn a remarkable percentage of the American Internet-using population " +#~ "into \\\"lawbreakers.\\\"" +#~ msgstr "" +#~ "så plutselig en rekke grunnleggende frihet for sivil beskyttelse fordampe " +#~ "til en grad eller annen.... Hvis du er en opphavsrett på lovgivningen, " +#~ "hvordan kan du håper å ha noen personvernet? Hvis du er en opphavsrett på " +#~ "lovgivningen, hvordan kan du håper å bli sikker mot beslag av " +#~ "datamaskinen? Hvordan kan du håper å fortsette å motta Internett-" +#~ "tilgang? ... vår sensibilities endre så snart vi tror, \\\"oh, vel, men " +#~ "denne personen er en kriminell, lawbreaker.\\\" Vel, hva denne kampanjen " +#~ "mot fildeling har gjort er å slå en bemerkelsesverdig prosent av den " +#~ "amerikanske internet-bruker befolkningen i \\\"lawbreakers.\\\"" + +#~ msgid "" +#~ "See Frank Ahrens, \\\"RIAA's Lawsuits Meet Surprised Targets; Single " +#~ "Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,\\\" " +#~ "Washington Post, 10 September 2003, E1; Chris Cobbs, \\\"Worried Parents " +#~ "Pull Plug on File `Stealing'; With the Music Industry Cracking Down on " +#~ "File Swapping, Parents are Yanking Software from Home PCs to Avoid Being " +#~ "Sued,\\\" Orlando Sentinel Tribune, 30 August 2003, C1; Jefferson Graham, " +#~ "\\\"Recording Industry Sues Parents,\\\" USA Today, 15 September 2003, " +#~ "4D; John Schwartz, \\\"She Says She's No Music Pirate. No Snoop Fan, " +#~ "Either,\\\" New York Times, 25 September 2003, C1; Margo Varadi, \\\"Is " +#~ "Brianna a Criminal?\\\" Toronto Star, 18 September 2003, P7." +#~ msgstr "" +#~ "se frank ahrens, \\\"riaa's søksmål møte overrasket over mål; enkelt mor " +#~ "i California, 12-år gammel jente i ny blant saksøkte,\\\"washington post, " +#~ "10 september 2003, e1; Chris cobbs, \\\"bekymret foreldre trekke pluggen " +#~ "på filen\\\"stjele\\\"; med musikkbransjen cracking ned på Filbytte, er " +#~ "foreldre prøver å lure programvare fra hjemme-PC å unngå blir saksøkte,\\" +#~ "\"orlando sentinel tribune, 30 august 2003, c1; Jefferson graham, \\" +#~ "\"innspillingen industri sues foreldre,\\\" usa today, 15 september 2003, " +#~ "4 d; John schwartz, \\\"hun sier hun er ingen musikk pirat. ikke snoop " +#~ "fan, enten,\\\"new york times, 25 september 2003, c1; Margo varadi, \\" +#~ "\"er brianna en kriminell?\\\" toronto star, 18 september 2003, p7." + +#~ msgid "" +#~ "Now, of course, she'll have the right to defend herself. You can hire a " +#~ "lawyer for her (at $300 per hour, if you're lucky), and she can plead " +#~ "that she didn't know anything about the source of the songs or that they " +#~ "came from Napster. And it may well be that the university believes her. " +#~ "But the university might not believe her. It might treat this \\" +#~ "\"contraband\\\" as presumptive of guilt. And as any number of college " +#~ "students have already learned, our presumptions about innocence disappear " +#~ "in the middle of wars of prohibition. This war is no different. Says von " +#~ "Lohmann," +#~ msgstr "" +#~ "nå, selvfølgelig, hun vil ha rett til å forsvare seg selv. Du kan leie en " +#~ "advokat for henne (på $300 per time, hvis du er heldig), og hun kan " +#~ "erkjenne at hun ikke visste noe om kilden til sangene eller at de kom fra " +#~ "napster. og det kan godt være at universitetet mener henne. Men " +#~ "universitetet kan ikke tro henne. Det kan behandle denne \\\"Kontrabande\\" +#~ "\" som presumptive av skyld. og som mange studenter har allerede lært, " +#~ "våre arrogante forutsetningen om uskyld forsvinne i midten av krigene om " +#~ "forbud. denne krigen er ikke annerledes. sier von sang," + +#~ msgid "" +#~ "When forty to sixty million Americans are considered \\\"criminals\\\" " +#~ "under the law, and when the law could achieve the same objective-- " +#~ "securing rights to authors--without these millions being considered \\" +#~ "\"criminals,\\\" who is the villain? Americans or the law? Which is " +#~ "American, a constant war on our own people or a concerted effort through " +#~ "our democracy to change our law?" +#~ msgstr "" +#~ "Når førti til seksti millioner amerikanere anses \\\"kriminelle\\\" under " +#~ "loven, og når loven kan oppnå det samme målet--sikre rettighetene til " +#~ "forfattere--uten disse millioner blir betraktet som \\\"kriminelle\\\", " +#~ "som er skurk? amerikanere eller loven? som er amerikansk, en konstant " +#~ "krig på våre egne folk eller en felles innsats gjennom vårt demokrati for " +#~ "å endre vår lov?" + +#~ msgid "" +#~ "The full text is: \\\"Sonny [Bono] wanted the term of copyright " +#~ "protection to last forever. I am informed by staff that such a change " +#~ "would violate the Constitution. I invite all of you to work with me to " +#~ "strengthen our copyright laws in all of the ways available to us. As you " +#~ "know, there is also Jack Valenti's proposal for a term to last forever " +#~ "less one day. Perhaps the Committee may look at that next Congress,\\\" " +#~ "144 Cong. Rec. H9946, 9951-2 (October 7, 1998)." +#~ msgstr "" +#~ "hele teksten er: \\\"sonny [bono] ønsket av opphavsrettslig vern til å " +#~ "vare evig. Jeg informert av ansatte at slik endring ville bryte " +#~ "Grunnloven. Jeg inviterer alle til å arbeide med meg å styrke våre lover " +#~ "om opphavsrett i alle måter som er tilgjengelig for oss. som du vet, er " +#~ "det også jack valenti forslag til et uttrykk til å vare evig mindre en " +#~ "dag. Komiteen kan kanskje se på at neste Kongressen,\\\"144 cong. REC " +#~ "h9946, 9951-2 (7. oktober 1998)." + +#~ msgid "" +#~ "As I've described, this clause is unique within the power-granting clause " +#~ "of Article I, section 8 of our Constitution. Every other clause granting " +#~ "power to Congress simply says Congress has the power to do something--for " +#~ "example, to regulate \\\"commerce among the several states\\\" or \\" +#~ "\"declare War.\\\" But here, the \\\"something\\\" is something quite " +#~ "specific--to \\\"promote . . . Progress\\\"--through means that are also " +#~ "specific-- by \\\"securing\\\" \\\"exclusive Rights\\\" (i.e., " +#~ "copyrights) \\\"for limited Times.\\\"" +#~ msgstr "" +#~ "som jeg har beskrevet, denne bestemmelsen er unikt innenfor strøm-" +#~ "granting-setningsdel i artikkelen i, Seksjon 8 av vår grunnlov. hver " +#~ "andre setningsdelen gi strøm til Kongressen sier bare Kongressen har makt " +#~ "til å gjøre noe--for eksempel, å regulere \\\"handel mellom flere stater\\" +#~ "\" eller \\\"erklærer krig\\\" men her, \\\"noe\\\" er noe helt spesielt--" +#~ "å \\\"fremme... fremgang\\\"--gjennom betyr at er også spesifikke--av \\" +#~ "\"sikre\\\" \\\"enerett\\\" (det vil si opphavsrett) \\\"for begrenset " +#~ "ganger.\\\"" + +#~ msgid "" +#~ "In the past forty years, Congress has gotten into the practice of " +#~ "extending existing terms of copyright protection. What puzzled me about " +#~ "this was, if Congress has the power to extend existing terms, then the " +#~ "Constitution's requirement that terms be \\\"limited\\\" will have no " +#~ "practical effect. If every time a copyright is about to expire, Congress " +#~ "has the power to extend its term, then Congress can achieve what the " +#~ "Constitution plainly forbids--perpetual terms \\\"on the installment plan," +#~ "\\\" as Professor Peter Jaszi so nicely put it." +#~ msgstr "" +#~ "i de siste 40 årene, har Kongressen fått i praksis for å utvide " +#~ "eksisterende vilkår for opphavsrettslig vern. Hva rådvill meg om dette " +#~ "var, hvis Kongressen har makt til å utvide eksisterende vilkår, så for " +#~ "grunnlovens krav at vilkårene være \\\"begrenset\\\" vil ha noen " +#~ "praktiske effekten. Hvis hver gang en opphavsrett er om å opphøre, " +#~ "Kongressen har makt til å utvide sin sikt, Kongressen kan oppnå hva " +#~ "Grunnloven tydelig forbyr--evigvarende vilkår \\\"på avbetaling plan,\\\" " +#~ "som professor peter jaszi så pent sette den." + +#~ msgid "" +#~ "For this is the core of the corruption in our present system of " +#~ "government. \\\"Corruption\\\" not in the sense that representatives are " +#~ "bribed. Rather, \\\"corruption\\\" in the sense that the system induces " +#~ "the beneficiaries of Congress's acts to raise and give money to Congress " +#~ "to induce it to act. There's only so much time; there's only so much " +#~ "Congress can do. Why not limit its actions to those things it must do--" +#~ "and those things that pay? Extending copyright terms pays." +#~ msgstr "" +#~ "for dette er kjernen i korrupsjon i vår nåværende system av regjeringen. " +#~ "\\\"ødelagt\\\" ikke i den forstand at representanter er bribed. snarere " +#~ "\\\"corruption\\\" i den forstand at systemet leder beneficiaries av " +#~ "congress's handlinger for å øke og gi penger til Kongressen for å få det " +#~ "til å handle. Det er bare så mye tid; Det er bare så mye kongress kan " +#~ "gjøre. Hvorfor ikke begrense handlingene til disse tingene det må gjøre-- " +#~ "og de tingene som betaler? forlengelse av lønner seg." + +#~ msgid "" +#~ "\\\"Next year,\\\" the adviser announces, \\\"our copyrights in works A, " +#~ "B, and C will expire. That means that after next year, we will no longer " +#~ "be receiving the annual royalty check of $100,000 from the publishers of " +#~ "those works." +#~ msgstr "" +#~ "\\\"neste år,\\\" rådgiver kunngjør, \\\"våre opphavsrett i works a, b og " +#~ "c vil utløpe. Det betyr at etter neste år, vi vil ikke lenger motta " +#~ "årlige royalty kontroll av $100.000 fra utgivere av disse fungerer." + +#~ msgid "" +#~ "\\\"There's a proposal in Congress, however,\\\" she continues, \\\"that " +#~ "could change this. A few congressmen are floating a bill to extend the " +#~ "terms of copyright by twenty years. That bill would be extraordinarily " +#~ "valuable to us. So we should hope this bill passes.\\\"" +#~ msgstr "" +#~ "\\\"det er et forslag i Kongressen, men,\\\" hun fortsetter, \\\"som kan " +#~ "endre dette. noen congressmen flyter en regning å utvide vilkårene i " +#~ "copyright ved tjue år. at regningen ville være ekstremt verdifullt for " +#~ "oss. så vi bør håpe passerer denne regningen.\\\"" + +#~ msgid "" +#~ "\\\"Hope?\\\" a fellow board member says. \\\"Can't we be doing something " +#~ "about it?\\\"" +#~ msgstr "" +#~ "\\\"håper?\\\" styremedlem stipendiat sier. \\\"kan ikke vi gjøre noe med " +#~ "det?\\\"" + +#~ msgid "" +#~ "\\\"Well, obviously, yes,\\\" the adviser responds. \\\"We could " +#~ "contribute to the campaigns of a number of representatives to try to " +#~ "assure that they support the bill.\\\"" +#~ msgstr "" +#~ "\\\"Vel, tydeligvis ja,\\\" rådgiver svarer. \\\"vi kunne bidra til " +#~ "kampanjene av en rekke representanter å prøve å sikre at de støtter " +#~ "regningen.\\\"" + +#~ msgid "" +#~ "You hate politics. You hate contributing to campaigns. So you want to " +#~ "know whether this disgusting practice is worth it. \\\"How much would we " +#~ "get if this extension were passed?\\\" you ask the adviser. \\\"How much " +#~ "is it worth?\\\"" +#~ msgstr "" +#~ "du hater politikk. du hater at bidra til kampanjer. så du ønsker å vite " +#~ "om denne motbydelig praksis er verdt det. \\\"hvor mye ville vi få Hvis " +#~ "denne utvidelsen ble passert?\\\" du be rådgiver. \\\"hvor mye er det " +#~ "verdt?\\\"" + +#~ msgid "" +#~ "\\\"Well,\\\" the adviser says, \\\"if you're confident that you will " +#~ "continue to get at least $100,000 a year from these copyrights, and you " +#~ "use the `discount rate' that we use to evaluate estate investments (6 " +#~ "percent), then this law would be worth $1,146,000 to the estate.\\\"" +#~ msgstr "" +#~ "\\\"Vel,\\\" rådgiver sier, \\\"Hvis du er sikker på at du vil fortsette " +#~ "å få minst $100.000 i året fra disse opphavsrett, og du bruker " +#~ "'diskontosats' som vi bruker til å evaluere eiendom investeringer (6 " +#~ "prosent), og denne loven vil være verdt $1,146,000 til eiendom.\\\"" + +#~ msgid "" +#~ "\\\"So you're saying it would be worth it for us to pay more than " +#~ "$1,000,000 in campaign contributions if we were confident those " +#~ "contributions would assure that the bill was passed?\\\"" +#~ msgstr "" +#~ "så du sier det ville være verdt det for oss å betale mer enn $1,000,000 i " +#~ "kampanjen bidrag om vi var sikker på disse bidragene vil forsikre at " +#~ "regningen ble sendt?" + +#~ msgid "" +#~ "\\\"Absolutely,\\\" the adviser responds. \\\"It is worth it to you to " +#~ "contribute up to the `present value' of the income you expect from these " +#~ "copyrights. Which for us means over $1,000,000.\\\"" +#~ msgstr "" +#~ "\\\"absolutt\\\", svarer rådgiver. \\\"det er verdt det for deg å bidra " +#~ "med opp til stede verdien av inntekten du forventer fra disse " +#~ "opphavsrettigheter. som for oss betyr over $1,000,000.\\\"" + +#~ msgid "" +#~ "Associated Press, \\\"Disney Lobbying for Copyright Extension No Mickey " +#~ "Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,\\\" " +#~ "Chicago Tribune, 17 October 1998, 22." +#~ msgstr "" +#~ "Associated press, \\\"disney lobbyvirksomhet for opphavsrett filtypen " +#~ "ingen Mikke Mus innsats; Kongressen øks bill tildeling skaperne 20 år,\\" +#~ "\"chicago tribune, 17 oktober 1998, 22." + +#~ msgid "" +#~ "Constitutional law is not oblivious to the obvious. Or at least, it need " +#~ "not be. So when I was considering Eldred's complaint, this reality about " +#~ "the never-ending incentives to increase the copyright term was central to " +#~ "my thinking. In my view, a pragmatic court committed to interpreting and " +#~ "applying the Constitution of our framers would see that if Congress has " +#~ "the power to extend existing terms, then there would be no effective " +#~ "constitutional requirement that terms be \\\"limited.\\\" If they could " +#~ "extend it once, they would extend it again and again and again." +#~ msgstr "" +#~ "konstitusjonelle loven er ikke oblivious til det åpenbare. eller i det " +#~ "minste, det trenger ikke være. så når jeg var vurderer eldred's klage, " +#~ "denne virkeligheten om never-ending insentiver til å øke opphavsrett " +#~ "begrepet var sentral til min tenkning. i min mening, vil en pragmatisk " +#~ "domstol forpliktet til å tolke og bruke Grunnloven av våre underskrev se " +#~ "at hvis Kongressen har makt til å utvide eksisterende vilkår, og det vil " +#~ "være ingen effektiv konstitusjonelle krav at vilkårene være \\\"begrenset." +#~ "\\\" Hvis de kunne forlenge det en gang, de ville utvide den igjen og " +#~ "igjen og igjen." + +#~ msgid "" +#~ "Since 1937, the Supreme Court had interpreted Congress's granted powers " +#~ "very broadly; so, while the Constitution grants Congress the power to " +#~ "regulate only \\\"commerce among the several states\\\" (aka \\" +#~ "\"interstate commerce\\\"), the Supreme Court had interpreted that power " +#~ "to include the power to regulate any activity that merely affected " +#~ "interstate commerce." +#~ msgstr "" +#~ "siden 1937, hadde Høyesterett tolket congress's gitt krefter svært bredt; " +#~ "så mens Grunnloven gir Kongressen makt til å regulere bare \\\"handel " +#~ "mellom flere stater\\\" (aka \\\"utdanningen handel\\\"), Høyesterett " +#~ "hadde tolket som makt til å inkludere makt til å regulere alle " +#~ "aktiviteter som bare berørt utdanningen handel." + +#~ msgid "" +#~ "If it is a principle about enumerated powers, then the principle carries " +#~ "from one enumerated power to another. The animating point in the context " +#~ "of the Commerce Clause was that the interpretation offered by the " +#~ "government would allow the government unending power to regulate " +#~ "commerce--the limitation to interstate commerce notwithstanding. The same " +#~ "point is true in the context of the Copyright Clause. Here, too, the " +#~ "government's interpretation would allow the government unending power to " +#~ "regulate copyrights--the limitation to \\\"limited times\\\" " +#~ "notwithstanding." +#~ msgstr "" +#~ "Hvis det er et prinsipp om nummerert kreftene, deretter bærer prinsippet " +#~ "fra en nummerert power til en annen. animert poenget i konteksten av " +#~ "handel-setningsdelen var at tolkningen tilbys av regjeringen ville " +#~ "tillate regjeringen unending makt til å regulere handel--begrenset til " +#~ "utdanningen handel til tross for. det samme punktet er sant i forbindelse " +#~ "med opphavsrett-setningsdel. her også, regjeringens tolkning ville " +#~ "tillate regjeringen unending makt til å regulere opphavsrett--begrenset " +#~ "til \\\"begrenset ganger\\\" til tross for." + +#~ msgid "" +#~ "If, that is, the principle announced in Lopez stood for a principle. " +#~ "Many believed the decision in Lopez stood for politics--a conservative " +#~ "Supreme Court, which believed in states' rights, using its power over " +#~ "Congress to advance its own personal political preferences. But I " +#~ "rejected that view of the Supreme Court's decision. Indeed, shortly after " +#~ "the decision, I wrote an article demonstrating the \\\"fidelity\\\" in " +#~ "such an interpretation of the Constitution. The idea that the Supreme " +#~ "Court decides cases based upon its politics struck me as extraordinarily " +#~ "boring. I was not going to devote my life to teaching constitutional law " +#~ "if these nine Justices were going to be petty politicians." +#~ msgstr "" +#~ "Hvis, det vil si at prinsippet annonsert i lopez stod for et prinsipp. " +#~ "mange trodde beslutningen i lopez stod for politikk--en konservativ " +#~ "Høyesterett, som trodde på states rettigheter, ved hjelp av sin makt over " +#~ "Kongressen for å fremme sine egne personlige politiske preferanser. men " +#~ "jeg har avvist denne visningen av Høyesterett beslutning. faktisk, kort " +#~ "tid etter vedtaket skrev jeg en artikkel demonstrere \\\"kvalitet\\\" i " +#~ "en slik tolkning av Grunnloven. ideen at Høyesterett bestemmer tilfeller " +#~ "basert på sin politikk slo meg som svært kjedelig. Jeg hadde ikke tenkt å " +#~ "vie livet til undervisning statsrett Hvis disse ni justiariusene skulle " +#~ "være smålig politikere." + +#~ msgid "" +#~ "It is valuable copyrights that are responsible for terms being extended. " +#~ "Mickey Mouse and \\\"Rhapsody in Blue.\\\" These works are too valuable " +#~ "for copyright owners to ignore. But the real harm to our society from " +#~ "copyright extensions is not that Mickey Mouse remains Disney's. Forget " +#~ "Mickey Mouse. Forget Robert Frost. Forget all the works from the 1920s " +#~ "and 1930s that have continuing commercial value. The real harm of term " +#~ "extension comes not from these famous works. The real harm is to the " +#~ "works that are not famous, not commercially exploited, and no longer " +#~ "available as a result." +#~ msgstr "" +#~ "Det er verdifull opphavsrett som er ansvarlig for vilkårene blir utvidet. " +#~ "Mikke Mus og \\\"rhapsody in blue.\\\" disse verkene er også nyttig for " +#~ "eiere av opphavsretter å ignorere. men reell skade samfunnet fra " +#~ "opphavsrett servertilleggene er ikke at Mikke Mus forblir disney. glem " +#~ "Mikke Mus. glem robert frost. Glem alle verker fra 1920- og 1930-tallet " +#~ "som har fortsetter kommersiell verdi. reell skade sikt-utvidelsen kommer " +#~ "ikke fra disse berømte verk. reell skade er Works ikke er kjent, ikke " +#~ "kommersielt utnyttede og ikke lenger tilgjengelig som et resultat." + +#~ msgid "" +#~ "\\\"But there isn't a list of who owns property generally,\\\" the " +#~ "apologists for the system respond. \\\"Why should there be a list of " +#~ "copyright owners?\\\"" +#~ msgstr "" +#~ "\\\"men det er ikke en liste av hvem som eier egenskapen vanligvis\\\" " +#~ "apologists for systemet svarer. \\\"Hvorfor skulle det være en liste over " +#~ "eiere av opphavsretter?\\\"" + +#~ msgid "" +#~ "See David G. Savage, \\\"High Court Scene of Showdown on Copyright Law,\\" +#~ "\" Los Angeles Times, 6 October 2002; David Streitfeld, \\\"Classic " +#~ "Movies, Songs, Books at Stake; Supreme Court Hears Arguments Today on " +#~ "Striking Down Copyright Extension,\\\" Orlando Sentinel Tribune, 9 " +#~ "October 2002." +#~ msgstr "" +#~ "Hvis du vil se david g. savage, \\\"high court scene av showdown på lov " +#~ "om opphavsrett\\\" los angeles times, 6 oktober 2002; David streitfeld, \\" +#~ "\"klassiske filmer, sanger, bøker på spill; Høyesterett hører argumenter " +#~ "i dag på støtning ned opphavsrett forlengelsen,\\\"orlando sentinel " +#~ "tribune, 9 oktober 2002." + +#~ msgid "" +#~ "\\\"But can't you just restore the film, distribute it, and then pay the " +#~ "copyright owner when she shows up?\\\" Sure, if you want to commit a " +#~ "felony. And even if you're not worried about committing a felony, when " +#~ "she does show up, she'll have the right to sue you for all the profits " +#~ "you have made. So, if you're successful, you can be fairly confident " +#~ "you'll be getting a call from someone's lawyer. And if you're not " +#~ "successful, you won't make enough to cover the costs of your own lawyer. " +#~ "Either way, you have to talk to a lawyer. And as is too often the case, " +#~ "saying you have to talk to a lawyer is the same as saying you won't make " +#~ "any money." +#~ msgstr "" +#~ "\\\"men ikke kan du bare gjenopprette filmen, distribuere den, og " +#~ "deretter betale eieren av opphavsretten når hun viser?\\\" sikker, hvis " +#~ "du vil utføre en forbrytelse. og selv om din ikke ' bekymret når hun " +#~ "viser, begår du en forbrytelse, hun vil ha rett til å saksøke deg for " +#~ "alle fortjeneste du har gjort. så, hvis du lykkes, du kan være ganske " +#~ "sikker på at du får et anrop fra noens advokat. og hvis du ikke er " +#~ "vellykket, kan du gjøre ikke nok til å dekke kostnadene for din egen " +#~ "advokat. Uansett, du har å snakke med en advokat. og som for ofte er " +#~ "tilfellet, sier du har til å snakke med en advokat er det samme som å si " +#~ "du ikke gjøre noen penger." + +#~ msgid "" +#~ "Of all the creative work produced by humans anywhere, a tiny fraction has " +#~ "continuing commercial value. For that tiny fraction, the copyright is a " +#~ "crucially important legal device. For that tiny fraction, the copyright " +#~ "creates incentives to produce and distribute the creative work. For that " +#~ "tiny fraction, the copyright acts as an \\\"engine of free expression.\\\"" +#~ msgstr "" +#~ "av alle kreative arbeidet produsert av mennesker overalt, har en liten " +#~ "brøkdel fortsetter kommersiell verdi. for at liten brøkdel er " +#~ "opphavsretten en svært viktig juridisk enhet. for at liten brøkdel " +#~ "oppretter opphavsretten incentiver til å produsere og distribuere " +#~ "skapende arbeid. for at liten brøkdel fungerer opphavsretten som en \\" +#~ "\"motoren i fri ytring.\\\"" + +#~ msgid "" +#~ "You may well ask, \\\"But if digital technologies lower the costs for " +#~ "Brewster Kahle, then they will lower the costs for Random House, too. So " +#~ "won't Random House do as well as Brewster Kahle in spreading culture " +#~ "widely?\\\"" +#~ msgstr "" +#~ "Du kan også spørre, \\\"men hvis digital teknologi lavere kostnader for " +#~ "brewster kahle, deretter de vil lavere kostnader for random house, også. " +#~ "så ikke random house gjøre samt brewster kahle i å spre kultur allment?\\" +#~ "\"" + +#~ msgid "" +#~ "Maybe. Someday. But there is absolutely no evidence to suggest that " +#~ "publishers would be as complete as libraries. If Barnes & Noble " +#~ "offered to lend books from its stores for a low price, would that " +#~ "eliminate the need for libraries? Only if you think that the only role of " +#~ "a library is to serve what \\\"the market\\\" would demand. But if you " +#~ "think the role of a library is bigger than this--if you think its role is " +#~ "to archive culture, whether there's a demand for any particular bit of " +#~ "that culture or not--then we can't count on the commercial market to do " +#~ "our library work for us." +#~ msgstr "" +#~ "kanskje. en dag. men det er absolutt ingen bevis som tyder på at utgivere " +#~ "ville være så fullstendig som biblioteker. Hvis barnes & noble " +#~ "tilbudt å låne bøker fra sine butikker for en lav pris, ville som " +#~ "eliminerer behovet for biblioteker? bare hvis du mener at et bibliotek " +#~ "eneste rolle er å tjene \\\"markedet\\\" ville kreve. men hvis du tror " +#~ "rollen til et bibliotek er større enn dette--hvis du tror sin rolle er å " +#~ "arkivere kultur, om det er en etterspørsel etter en bestemt bit av denne " +#~ "kulturen eller ikke-- så vi ikke stole på det kommersielle markedet å " +#~ "gjøre arbeidet vårt bibliotek for oss." + +#~ msgid "" +#~ "In January 1999, we filed a lawsuit on Eric Eldred's behalf in federal " +#~ "district court in Washington, D.C., asking the court to declare the Sonny " +#~ "Bono Copyright Term Extension Act unconstitutional. The two central " +#~ "claims that we made were (1) that extending existing terms violated the " +#~ "Constitution's \\\"limited Times\\\" requirement, and (2) that extending " +#~ "terms by another twenty years violated the First Amendment." +#~ msgstr "" +#~ "i januar 1999 anlagt vi en sak på eric eldred vegne i federal district " +#~ "court i washington, DC, spør domstolen å erklære sonny bono opphavsrett " +#~ "begrepet forlengelse loven unconstitutional. to sentrale krav som vi " +#~ "gjorde var (1) at utvide eksisterende vilkårene krenket av Grunnloven \\" +#~ "\"begrenset ganger\\\" krav, og (2) at utvide vilkårene ved en annen tjue " +#~ "år krenket first endring." + +#~ msgid "" +#~ "Judge David Sentelle said the CTEA violated the requirement that " +#~ "copyrights be for \\\"limited Times\\\" only. His argument was as elegant " +#~ "as it was simple: If Congress can extend existing terms, then there is no " +#~ "\\\"stopping point\\\" to Congress's power under the Copyright Clause. " +#~ "The power to extend existing terms means Congress is not required to " +#~ "grant terms that are \\\"limited.\\\" Thus, Judge Sentelle argued, the " +#~ "court had to interpret the term \\\"limited Times\\\" to give it meaning. " +#~ "And the best interpretation, Judge Sentelle argued, would be to deny " +#~ "Congress the power to extend existing terms." +#~ msgstr "" +#~ "dommer david sentelle sa ctea brutt kravet opphavsrett være for \\" +#~ "\"begrenset ganger\\\" bare. hans argument var like elegant som den var " +#~ "enkel: Hvis Kongressen kan utvide eksisterende vilkår, så det er ingen \\" +#~ "\"stoppe poeng\\\" til Kongressens makten under opphavsrett-setningsdel. " +#~ "strøm for å forlenge eksisterende vilkårene betyr Kongressen ikke er " +#~ "nødvendig å gi vilkårene at er \\\"begrenset.\\\" derfor dømme sentelle " +#~ "hevdet, domstolen hadde å tolke begrepet \\\"begrenset ganger\\\" å gi " +#~ "den mening. og beste tolkningen, dommer sentelle hevdet, ville være å " +#~ "nekte Kongressen makt til å utvide eksisterende vilkår." + +#~ msgid "" +#~ "We asked the Court of Appeals for the D.C. Circuit as a whole to hear the " +#~ "case. Cases are ordinarily heard in panels of three, except for important " +#~ "cases or cases that raise issues specific to the circuit as a whole, " +#~ "where the court will sit \\\"en banc\\\" to hear the case." +#~ msgstr "" +#~ "vi spurte court of appeals for DC-kretsen som helhet å høre tilfelle. " +#~ "tilfeller er vanligvis hørt i paneler med tre, med unntak av viktige " +#~ "saker eller tilfeller som øke problemer som er spesifikke for kretsen som " +#~ "helhet, der domstolen skal sitte \\\"no banc\\\" for å høre tilfelle." + +#~ msgid "" +#~ "There were three key lawyers on the case from Jones Day. Geoff Stewart " +#~ "was the first, but then Dan Bromberg and Don Ayer became quite involved. " +#~ "Bromberg and Ayer in particular had a common view about how this case " +#~ "would be won: We would only win, they repeatedly told me, if we could " +#~ "make the issue seem \\\"important\\\" to the Supreme Court. It had to " +#~ "seem as if dramatic harm were being done to free speech and free culture; " +#~ "otherwise, they would never vote against \\\"the most powerful media " +#~ "companies in the world.\\\"" +#~ msgstr "" +#~ "Det var tre viktige advokater tilfelle fra jones dag. Geoff stewart var " +#~ "først, men deretter dan bromberg og don ayer ble ganske involvert. " +#~ "Bromberg og ayer spesielt hadde en felles oppfatning om hvordan dette " +#~ "tilfellet ville bli vunnet: vi ville bare vinne, de gjentatte ganger " +#~ "fortalte meg, hvis vi kunne gjøre problemet synes \\\"viktig\\\" til " +#~ "Høyesterett. det måtte synes som om dramatisk skade ble gjort til " +#~ "ytringsfriheten og fri kultur; ellers ville de aldri stemt mot \\\"de " +#~ "kraftigste media selskapene i verden.\\\"" + +#~ msgid "" +#~ "I hate this view of the law. Of course I thought the Sonny Bono Act was a " +#~ "dramatic harm to free speech and free culture. Of course I still think it " +#~ "is. But the idea that the Supreme Court decides the law based on how " +#~ "important they believe the issues are is just wrong. It might be \\\"right" +#~ "\\\" as in \\\"true,\\\" I thought, but it is \\\"wrong\\\" as in \\\"it " +#~ "just shouldn't be that way.\\\" As I believed that any faithful " +#~ "interpretation of what the framers of our Constitution did would yield " +#~ "the conclusion that the CTEA was unconstitutional, and as I believed that " +#~ "any faithful interpretation of what the First Amendment means would yield " +#~ "the conclusion that the power to extend existing copyright terms is " +#~ "unconstitutional, I was not persuaded that we had to sell our case like " +#~ "soap. Just as a law that bans the swastika is unconstitutional not " +#~ "because the Court likes Nazis but because such a law would violate the " +#~ "Constitution, so too, in my view, would the Court decide whether " +#~ "Congress's law was constitutional based on the Constitution, not based on " +#~ "whether they liked the values that the framers put in the Constitution." +#~ msgstr "" +#~ "Jeg hater denne visningen av loven. Selvfølgelig trodde jeg sonny bono " +#~ "loven var en dramatisk skade på ytringsfriheten og fri kultur. " +#~ "Selvfølgelig tror jeg fortsatt det er. men ideen om at Høyesterett " +#~ "bestemmer loven basert på hvor viktig de tror problemene er er bare galt. " +#~ "Det kan være \\\"riktig\\\" som i \\\"sann,\\\" jeg tenkte, men det er \\" +#~ "\"galt\\\" som i \\\"det bare bør ikke være den måten.\\\" som jeg mente " +#~ "at alle trofaste tolkning av forfatterne av vår grunnlov gjorde gi " +#~ "konklusjonen at ctea var forfatningsstridig, og som jeg mente at alle " +#~ "trofaste tolkning av hva den første endring betyr ville gi konklusjonen " +#~ "som strøm for å forlenge eksisterende opphavsrett vilkårene er " +#~ "unconstitutionalJeg var ikke overbevist om at vi måtte selge vårt " +#~ "tilfelle som såpe. akkurat som en lov som forbud swastika er " +#~ "unconstitutional ikke fordi retten liker nazistene, men fordi slik lov " +#~ "ville bryte Grunnloven, så også, i min mening, ville domstol bestemmer om " +#~ "congress's lov var konstitusjonelle basert på Grunnloven, ikke basert på " +#~ "om de likte verdiene som underskrev de innlegge Grunnloven." + +#~ msgid "" +#~ "The first step happened all by itself. Phyllis Schlafly's organization, " +#~ "Eagle Forum, had been an opponent of the CTEA from the very beginning. " +#~ "Mrs. Schlafly viewed the CTEA as a sellout by Congress. In November 1998, " +#~ "she wrote a stinging editorial attacking the Republican Congress for " +#~ "allowing the law to pass. As she wrote, \\\"Do you sometimes wonder why " +#~ "bills that create a financial windfall to narrow special interests slide " +#~ "easily through the intricate legislative process, while bills that " +#~ "benefit the general public seem to get bogged down?\\\" The answer, as " +#~ "the editorial documented, was the power of money. Schlafly enumerated " +#~ "Disney's contributions to the key players on the committees. It was " +#~ "money, not justice, that gave Mickey Mouse twenty more years in Disney's " +#~ "control, Schlafly argued." +#~ msgstr "" +#~ "det første trinnet skjedde alt av seg selv. Phyllis schlafly " +#~ "organisasjon, eagle forum, hadde vært motstander av ctea fra begynnelsen. " +#~ "Mrs. schlafly sett ctea som en sellout av Kongressen. i november 1998 " +#~ "skrev hun en stinging redaksjonelle angripe det republikanske Kongressen " +#~ "for å la loven skjedde. som hun skrev, \\\"noen ganger lurer du hvorfor " +#~ "regninger som oppretter en finansiell nedfallsfrukt for å begrense " +#~ "spesielle interesser skyv lett gjennom den intrikate lovgivende " +#~ "prosessen, mens regninger at fordelen allmennheten synes å komme bogged " +#~ "ned?\\\", som de redaksjonelle dokumentert, var svaret strømmen av " +#~ "penger. schlafly nummerert disney's bidrag til sentrale aktører på " +#~ "komiteene. Det var penger, ikke rettferdighet, som ga Mikke Mus tjue år i " +#~ "disney's kontroll, schlafly hevdet." + +#~ msgid "" +#~ "This economists' brief was signed by seventeen economists, including five " +#~ "Nobel Prize winners, including Ronald Coase, James Buchanan, Milton " +#~ "Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list " +#~ "of Nobel winners demonstrates, spanned the political spectrum. Their " +#~ "conclusions were powerful: There was no plausible claim that extending " +#~ "the terms of existing copyrights would do anything to increase incentives " +#~ "to create. Such extensions were nothing more than \\\"rent-seeking\\\"--" +#~ "the fancy term economists use to describe special-interest legislation " +#~ "gone wild." +#~ msgstr "" +#~ "Denne økonomer kort ble signert av sytten økonomer, inkludert fem " +#~ "Nobelprisen vinnerne, inkludert ronald Coases, james buchanan, milton " +#~ "friedman, kenneth pilen og george akerlof. økonomer, spredte som viser " +#~ "listen over nobel vinnere, det politiske spektret. deres konklusjoner var " +#~ "kraftig: det var ingen sannsynlig hevder at utvide vilkårene i " +#~ "eksisterende opphavsrettigheter ville gjøre noe for å øke insentiver til " +#~ "å opprette. slike utvidelser var ingenting mer enn \\\"leie-søker\\\"--" +#~ "fancy sikt økonomer bruk å beskrive spesielle interesser lovgivning gone " +#~ "wild." + +#~ msgid "" +#~ "The government, in defending the statute, had its collection of friends, " +#~ "as well. Significantly, however, none of these \\\"friends\\\" included " +#~ "historians or economists. The briefs on the other side of the case were " +#~ "written exclusively by major media companies, congressmen, and copyright " +#~ "holders." +#~ msgstr "" +#~ "regjeringen, i å forsvare statutten, hadde sin samling av venner, også. " +#~ "betydelig, men ingen av disse \\\"vennene\\\" inkludert historikere eller " +#~ "økonomer. truser på den andre siden av saken ble skrevet utelukkende av " +#~ "store medieselskaper, congressmen og innehaver av opphavsrett." + +#~ msgid "" +#~ "Dinitia Smith, \\\"Immortal Words, Immortal Royalties? Even Mickey Mouse " +#~ "Joins the Fray,\\\" New York Times, 28 March 1998, B7." +#~ msgstr "" +#~ "dinitia smith, \\\"udødelig ord, udødelig royalties? selv Mikke Mus " +#~ "tiltrer fray,\\\"new york times, 28 mars 1998, b7." + +#~ msgid "" +#~ "This argument made clear a theme that is rarely noticed in this debate. " +#~ "When Congress decides to extend the term of existing copyrights, Congress " +#~ "is making a choice about which speakers it will favor. Famous and " +#~ "beloved copyright owners, such as the Gershwin estate and Dr. Seuss, come " +#~ "to Congress and say, \\\"Give us twenty years to control the speech about " +#~ "these icons of American culture. We'll do better with them than anyone " +#~ "else.\\\" Congress of course likes to reward the popular and famous by " +#~ "giving them what they want. But when Congress gives people an exclusive " +#~ "right to speak in a certain way, that's just what the First Amendment is " +#~ "traditionally meant to block." +#~ msgstr "" +#~ "Dette argumentet gjort klart et tema som er sjelden merke i denne " +#~ "debatten. Når Kongressen beslutter å forlenge eksisterende " +#~ "opphavsrettigheter, gjør Kongressen et valg om hvilke høyttalere det " +#~ "prioriteres. berømte og elskede opphavsrett eiere, for eksempel gershwin " +#~ "eiendom og dr. seuss, komme til Kongressen og si, \\\"gi oss tjue år å " +#~ "kontrollere tale om disse ikonene av den amerikanske kulturen. Vi vil " +#~ "gjøre bedre med dem enn noen andre.\\\"Kongressen liker selvfølgelig å " +#~ "belønne de populære og berømte ved å gi dem det de ønsker. men når " +#~ "Kongressen gir folk en eksklusiv rett til å snakke på en bestemt måte, " +#~ "det er akkurat hva den første endringen er tradisjonelt ment å blokkere." + +#~ msgid "" +#~ "This analysis of \\\"the Rest\\\" showed most clearly where our focus had " +#~ "to be: on the Conservatives. To win this case, we had to crack open these " +#~ "five and get at least a majority to go our way. Thus, the single " +#~ "overriding argument that animated our claim rested on the Conservatives' " +#~ "most important jurisprudential innovation--the argument that Judge " +#~ "Sentelle had relied upon in the Court of Appeals, that Congress's power " +#~ "must be interpreted so that its enumerated powers have limits." +#~ msgstr "" +#~ "Denne analysen av \\\"resten\\\" viste mest tydelig der vårt fokus måtte " +#~ "være: på høyre. for å vinne dette tilfellet, vi hadde å sprekk åpne disse " +#~ "fem og få minst et flertall å gå på vår måte. dermed enkelt overstyrende " +#~ "argument som animert våre krav hvilte på Høyres viktigste jurisprudential " +#~ "innovasjon - argumentet at dommer sentelle hadde grunnlag i lagmannsrett, " +#~ "at Kongressens makt må tolkes slik at dens nummerert kreftene har " +#~ "begrensninger." + +#~ msgid "" +#~ "This then was the core of our strategy--a strategy for which I am " +#~ "responsible. We would get the Court to see that just as with the Lopez " +#~ "case, under the government's argument here, Congress would always have " +#~ "unlimited power to extend existing terms. If anything was plain about " +#~ "Congress's power under the Progress Clause, it was that this power was " +#~ "supposed to be \\\"limited.\\\" Our aim would be to get the Court to " +#~ "reconcile Eldred with Lopez: If Congress's power to regulate commerce was " +#~ "limited, then so, too, must Congress's power to regulate copyright be " +#~ "limited." +#~ msgstr "" +#~ "Dette var deretter kjernen i vår strategi--en strategi som jeg er " +#~ "ansvarlig. Vi ville få retten å se at akkurat som du er med under " +#~ "regjeringens argument her i tilfelle lopez, Kongressen ville alltid ha " +#~ "ubegrenset makt til å utvide eksisterende vilkår. Hvis noe var vanlig om " +#~ "Kongressens makt under setningsdelen fremdrift, det var at dette makt var " +#~ "ment for å være \\\"begrenset.\\\" vårt mål vil være å få retten å " +#~ "avstemme eldred med lopez: Hvis Kongressens makt til å regulere handel " +#~ "var begrenset, deretter så, også, congress's makt til å regulere " +#~ "copyright skal begrenses." + +#~ msgid "" +#~ "But this \\\"consistency\\\" should be kept in perspective. Congress " +#~ "extended existing terms once in the first hundred years of the Republic. " +#~ "It then extended existing terms once again in the next fifty. Those rare " +#~ "extensions are in contrast to the now regular practice of extending " +#~ "existing terms. Whatever restraint Congress had had in the past, that " +#~ "restraint was now gone. Congress was now in a cycle of extensions; there " +#~ "was no reason to expect that cycle would end. This Court had not " +#~ "hesitated to intervene where Congress was in a similar cycle of " +#~ "extension. There was no reason it couldn't intervene here. Oral " +#~ "argument was scheduled for the first week in October. I arrived in D.C. " +#~ "two weeks before the argument. During those two weeks, I was repeatedly \\" +#~ "\"mooted\\\" by lawyers who had volunteered to help in the case. Such \\" +#~ "\"moots\\\" are basically practice rounds, where wannabe justices fire " +#~ "questions at wannabe winners." +#~ msgstr "" +#~ "men dette \\\"konsistens\\\" bør holdes i perspektiv. Kongressen utvidet " +#~ "eksisterende vilkårene en gang i første hundre år av Republikken. det " +#~ "deretter utvidet eksisterende vilkårene igjen i de neste femti. disse " +#~ "sjeldne utvidelser er i motsetning til nå vanlig praksis for å utvide " +#~ "eksisterende vilkår. Uansett selvbeherskelse Kongressen hadde hatt i " +#~ "siste, at selvbeherskelse nå var borte. Kongressen var nå i en syklus av " +#~ "utvidelser; Det var ingen grunn til å forvente at syklus ville end. denne " +#~ "domstolen hadde ikke vil nøle med å intervenere der Kongressen var i en " +#~ "lignende syklus av filtypen. Det var ingen grunn det ikke kunne gripe inn " +#~ "her. muntlig argumentet var planlagt for den første uken i oktober. Jeg " +#~ "ankom i DC to uker før argumentet. i løpet av de to ukene, ble jeg " +#~ "gjentatte ganger \\\"mooted\\\" av advokater som hadde frivillig til å " +#~ "hjelpe i tilfelle. slike \\\"moots\\\" er i utgangspunktet praksis " +#~ "runder, der wannabe justiariusene brann spørsmål på wannabe vinnere." + +#~ msgid "" +#~ "\\\"I'm just afraid that unless they really see the harm, they won't be " +#~ "willing to upset this practice that the government says has been a " +#~ "consistent practice for two hundred years. You have to make them see the " +#~ "harm--passionately get them to see the harm. For if they don't see that, " +#~ "then we haven't any chance of winning.\\\"" +#~ msgstr "" +#~ "Jeg er bare redd at med mindre de ser virkelig skade, de ikke vil være " +#~ "villig til å opprørt denne praksis som regjeringen sier har vært en " +#~ "konsekvent praksis for to hundre år. du har å gjøre dem se skade--" +#~ "passionately få dem til å se skaden. for hvis de ser ikke som, så vi har " +#~ "ikke noen sjanse til å vinne." + +#~ msgid "" +#~ "She was quite willing to concede \\\"that this flies directly in the face " +#~ "of what the framers had in mind.\\\" But my response again and again was " +#~ "to emphasize limits on Congress's power." +#~ msgstr "" +#~ "Hun var ganske villig til å innrømme \\\"at dette flyr direkte i møte med " +#~ "hva underskrev hadde i tankene.\\\", men mitt svar var igjen og igjen å " +#~ "understreke begrensninger på Kongressens makt." + +#~ msgid "" +#~ "Justice Breyer's opinion, perhaps the best opinion he has ever written, " +#~ "was external to the Constitution. He argued that the term of copyrights " +#~ "has become so long as to be effectively unlimited. We had said that under " +#~ "the current term, a copyright gave an author 99.8 percent of the value of " +#~ "a perpetual term. Breyer said we were wrong, that the actual number was " +#~ "99.9997 percent of a perpetual term. Either way, the point was clear: If " +#~ "the Constitution said a term had to be \\\"limited,\\\" and the existing " +#~ "term was so long as to be effectively unlimited, then it was " +#~ "unconstitutional." +#~ msgstr "" +#~ "rettferdighet breyer oppfatning, kanskje den beste mening han noensinne " +#~ "har skrevet, var eksterne for Grunnloven. Han hevdet at begrepet av " +#~ "opphavsretten har blitt så lenge som å være effektivt ubegrenset. Vi " +#~ "hadde sagt at under gjeldende begrepet, opphavsretten ga en forfatter " +#~ "99.8 prosent av verdien av et evigvarende begrep. Breyer sa vi var galt, " +#~ "at det faktiske antallet var 99.9997 prosent av en evigvarende sikt. " +#~ "Uansett, punktet var klart: Hvis grunnloven sa en term måtte være \\" +#~ "\"begrenset\\\", og eksisterende begrepet var så langt som å være " +#~ "effektivt ubegrenset, så det var forfatningsstridig." + +#~ msgid "" +#~ "It was first anger with the five \\\"Conservatives.\\\" It would have " +#~ "been one thing for them to have explained why the principle of Lopez " +#~ "didn't apply in this case. That wouldn't have been a very convincing " +#~ "argument, I don't believe, having read it made by others, and having " +#~ "tried to make it myself. But it at least would have been an act of " +#~ "integrity. These justices in particular have repeatedly said that the " +#~ "proper mode of interpreting the Constitution is \\\"originalism\\\"--to " +#~ "first understand the framers' text, interpreted in their context, in " +#~ "light of the structure of the Constitution. That method had produced " +#~ "Lopez and many other \\\"originalist\\\" rulings. Where was their \\" +#~ "\"originalism\\\" now?" +#~ msgstr "" +#~ "Det var første sinne på fem \\\"konservative.\\\" det ville ha vært en " +#~ "ting for dem å har forklart hvorfor prinsippet om lopez ikke bruk i dette " +#~ "tilfellet. ikke som ville vært et veldig overbevisende argument, jeg ikke " +#~ "tror, etter å ha lest det gjort av andre, og at de hadde prøvd å gjøre " +#~ "det selv. men i alle fall ville det ha vært en handling av integritet. " +#~ "disse to andre justiariusene spesielt har gjentatte ganger sagt at riktig " +#~ "tolke Grunnloven er \\\"originalism\\\"--å først forstå underskrev tekst, " +#~ "tolkes i sin sammenheng, i lys av strukturen av Grunnloven. Denne metoden " +#~ "hadde produsert lopez og mange andre \\\"originalist\\\" rulings. hvor " +#~ "var deres \\\"originalism\\\" nå?" + +#~ msgid "" +#~ "And even if I couldn't, then that doesn't excuse what happened in " +#~ "January. For at the start of this case, one of America's leading " +#~ "intellectual property professors stated publicly that my bringing this " +#~ "case was a mistake. \\\"The Court is not ready,\\\" Peter Jaszi said; " +#~ "this issue should not be raised until it is." +#~ msgstr "" +#~ "og selv om jeg ikke kunne, deretter som unnskylde ikke hva som skjedde i " +#~ "januar. for ved starten av dette tilfellet uttalt en av Amerikas ledende " +#~ "immaterielle professorer offentlig at mitt å bringe denne saken var en " +#~ "feil. -domstolen ikke er klar,\\\"sagt peter jaszi, Dette problemet bør " +#~ "ikke heves før det er." + +#~ msgid "" +#~ "The best responses were in the cartoons. There was a gaggle of hilarious " +#~ "images--of Mickey in jail and the like. The best, from my view of the " +#~ "case, was Ruben Bolling's, reproduced on the next page. The \\\"powerful " +#~ "and wealthy\\\" line is a bit unfair. But the punch in the face felt " +#~ "exactly like that." +#~ msgstr "" +#~ "de beste svarene var i tegneserier. Det var en gaggle av morsom bilder--" +#~ "av mickey i fengsel og lignende. best, fra min mening i saken, var ruben " +#~ "bolling, gjengis på neste side. linjen \\\"kraftige og velstående\\\" er " +#~ "en smule urettferdig. Men slag i ansiktet følte akkurat sånn." + +#~ msgid "" +#~ "The image that will always stick in my head is that evoked by the quote " +#~ "from The New York Times. That \\\"grand experiment\\\" we call the \\" +#~ "\"public domain\\\" is over? When I can make light of it, I think, \\" +#~ "\"Honey, I shrunk the Constitution.\\\" But I can rarely make light of " +#~ "it. We had in our Constitution a commitment to free culture. In the case " +#~ "that I fathered, the Supreme Court effectively renounced that commitment. " +#~ "A better lawyer would have made them see differently." +#~ msgstr "" +#~ "bildet som vil alltid holde i hodet mitt er som utløste ved sitat fra new " +#~ "york times. at \\\"store eksperimentet\\\" vi kaller \\\"public domain\\" +#~ "\" er over? Når jeg kan gjøre lys av det, tror jeg, \\\"Elskling, jeg " +#~ "krympet Grunnloven.\\\", men jeg kan sjelden gjøre lyset av den. Vi hadde " +#~ "i vår grunnlov en engasjement for fri kultur. i tilfelle at jeg far, " +#~ "avkall Høyesterett effektivt at satsing. ha ville gjort en bedre advokat " +#~ "dem se annerledes." + +#~ msgid "" +#~ "It was an act of contrition. During the whole of the flight from San " +#~ "Francisco to Washington, I had heard over and over again in my head the " +#~ "same advice from Don Ayer: You need to make them see why it is important. " +#~ "And alternating with that command was the question of Justice Kennedy: \\" +#~ "\"For all these years the act has impeded progress in science and the " +#~ "useful arts. I just don't see any empirical evidence for that.\\\" And " +#~ "so, having failed in the argument of constitutional principle, finally, I " +#~ "turned to an argument of politics." +#~ msgstr "" +#~ "Det var en handling av contrition. under hele flyturen fra san francisco " +#~ "til washington, jeg hadde hørt om og om igjen i hodet mitt samme råd fra " +#~ "don ayer: du trenger å gjøre dem se hvorfor det er viktig. og " +#~ "alternerende med den samme kommandoen ble spørsmålet om rettferdighet " +#~ "kennedy: \\\"for alle disse år loven har hindret fremgang i vitenskap og " +#~ "nyttig kunst. Jeg ser ikke noen empiriske bevis for som.\\\", og så å ha " +#~ "mislyktes i argument av konstitusjonelle prinsippet, til slutt, jeg slått " +#~ "til et argument av politikk." + +#~ msgid "" +#~ "Or another two names. For depending upon your perspective, this is either " +#~ "the \\\"Public Domain Enhancement Act\\\" or the \\\"Copyright Term " +#~ "Deregulation Act.\\\" Either way, the essence of the idea is clear and " +#~ "obvious: Remove copyright where it is doing nothing except blocking " +#~ "access and the spread of knowledge. Leave it for as long as Congress " +#~ "allows for those works where its worth is at least $1. But for everything " +#~ "else, let the content go." +#~ msgstr "" +#~ "eller en annen to navn. for avhengig av ditt perspektiv, dette er enten \\" +#~ "\"public domain forbedring act\\\" eller den \\\"copyright begrepet " +#~ "dereguleringen act.\\\" Uansett, essensen av ideen er klar og tydelig: " +#~ "fjerne copyright der det gjør ingenting bortsett fra blokkerer tilgang og " +#~ "spredning av kunnskap. La det for så lenge Kongressen tillater for disse " +#~ "arbeider der er verdt minst $1. men for alt annet, kan du la til innhold " +#~ "gå." + +#~ msgid "" +#~ "That's great rhetoric. It sounds wonderfully romantic. But it is absurd " +#~ "copyright policy. It is absurd especially for authors, because a world " +#~ "without formalities harms the creator. The ability to spread \\\"Walt " +#~ "Disney creativity\\\" is destroyed when there is no simple way to know " +#~ "what's protected and what's not." +#~ msgstr "" +#~ "Det er stor retorikk. det høres usedvanlig romantiske. men det er absurd " +#~ "copyright policy. Det er absurd spesielt for forfattere, fordi en verden " +#~ "uten formaliteter skader skaperen. muligheten til å spre \\\"walt disney " +#~ "kreativitet\\\" er ødelagt når det er ingen enkel måte å vite hva er " +#~ "beskyttet og hva som ikke." + +#~ msgid "" +#~ "In addition to the practical complaint of authors in 1908, there was a " +#~ "moral claim as well. There was no reason that creative property should be " +#~ "a second-class form of property. If a carpenter builds a table, his " +#~ "rights over the table don't depend upon filing a form with the " +#~ "government. He has a property right over the table \\\"naturally,\\\" " +#~ "and he can assert that right against anyone who would steal the table, " +#~ "whether or not he has informed the government of his ownership of the " +#~ "table." +#~ msgstr "" +#~ "i tillegg til praktiske klagen av forfattere i 1908 var det så vel " +#~ "moralsk krav. Det var ingen grunn at creative egenskapen, bør være en " +#~ "annenklasses form for egenskapen. Hvis en snekker bygger en tabell, " +#~ "avhenger ikke sine rettigheter over tabellen av innlevering et skjema med " +#~ "regjeringen. Han har en eiendomsrett over tabellen \\\"naturlig\\\", og " +#~ "han kan hevde at høyre mot alle som ville stjele tabellen, om han har " +#~ "informert regjeringen av sitt eierskap av tabellen." + +#~ msgid "" +#~ "This was the understanding of the problem with the Sonny Bono Act that we " +#~ "tried to demonstrate to the Court. This was the part it didn't \\\"get.\\" +#~ "\" Because we live in a system without formalities, there is no way " +#~ "easily to build upon or use culture from our past. If copyright terms " +#~ "were, as Justice Story said they would be, \\\"short,\\\" then this " +#~ "wouldn't matter much. For fourteen years, under the framers' system, a " +#~ "work would be presumptively controlled. After fourteen years, it would be " +#~ "presumptively uncontrolled." +#~ msgstr "" +#~ "Dette var forståelsen av problemet med sonny bono loven som vi prøvde å " +#~ "demonstrere for retten. Dette var delen som det ikke \\\"få.\\\" fordi vi " +#~ "lever i et system uten formaliteter, det er ingen måte lett å bygge på, " +#~ "eller bruk kultur fra vår fortid. Hvis opphavsrett vilkårene var, som " +#~ "rettferdighet historien sa de ville være, ville ikke \\\"kort\\\", da " +#~ "dette saken mye. i fjorten år, ville under underskrev system, et arbeid " +#~ "presumptively kontrolleres. etter fjorten år, ville det være " +#~ "presumptively ukontrollerte." + +#~ msgid "" +#~ "One representative, Zoe Lofgren of California, went so far as to get the " +#~ "bill drafted. The draft solved any problem with international law. It " +#~ "imposed the simplest requirement upon copyright owners possible. In May " +#~ "2003, it looked as if the bill would be introduced. On May 16, I posted " +#~ "on the Eldred Act blog, \\\"we are close.\\\" There was a general " +#~ "reaction in the blog community that something good might happen here." +#~ msgstr "" +#~ "en representant, zoe lofgren i california, gikk så langt som å få " +#~ "regningen utarbeidet. utkastet løst noen problemer med internasjonal lov. " +#~ "det pålagt enkleste kravet på eiere av opphavsretter mulig. i mai 2003, " +#~ "det så ut som om regningen ville være innført. 16. mai, jeg postet på " +#~ "eldred act blogg, \\\"vi er lukkes\\\" Det oppstod en generell reaksjon i " +#~ "bloggen samfunnet som noe godt kan skje her." + +#~ msgid "" +#~ "The MPAA argued first that Congress had \\\"firmly rejected the central " +#~ "concept in the proposed bill\\\"--that copyrights be renewed. That was " +#~ "true, but irrelevant, as Congress's \\\"firm rejection\\\" had occurred " +#~ "long before the Internet made subsequent uses much more likely. Second, " +#~ "they argued that the proposal would harm poor copyright owners--" +#~ "apparently those who could not afford the $1 fee. Third, they argued that " +#~ "Congress had determined that extending a copyright term would encourage " +#~ "restoration work. Maybe in the case of the small percentage of work " +#~ "covered by copyright law that is still commercially valuable, but again " +#~ "this was irrelevant, as the proposal would not cut off the extended term " +#~ "unless the $1 fee was not paid. Fourth, the MPAA argued that the bill " +#~ "would impose \\\"enormous\\\" costs, since a registration system is not " +#~ "free. True enough, but those costs are certainly less than the costs of " +#~ "clearing the rights for a copyright whose owner is not known. Fifth, they " +#~ "worried about the risks if the copyright to a story underlying a film " +#~ "were to pass into the public domain. But what risk is that? If it is in " +#~ "the public domain, then the film is a valid derivative use." +#~ msgstr "" +#~ "mpaa hevdet først at Kongressen hadde \\\"fast avvist sentrale konseptet " +#~ "i lovforslaget\\\"--opphavsrett fornyes. Det var sant, men irrelevant, " +#~ "som congress's \\\"fast avvisning\\\" hadde skjedd lenge før Internett " +#~ "gjort etterfølgende bruker mye mer sannsynlig. for det andre, de hevdet " +#~ "at forslaget vil skade dårlig eiere av opphavsretter--tilsynelatende de " +#~ "som ikke hadde råd til $1 gebyret. tredje, de hevdet at Kongressen hadde " +#~ "bestemt at utvide en opphavsrett sikt vil oppfordre restaurering arbeid. " +#~ "kanskje når det gjelder en liten prosentdel av arbeid dekket av lov om " +#~ "opphavsrett som fortsatt er kommersielt verdifulle, men igjen dette var " +#~ "irrelevant, som forslaget ikke vil kuttet av på lengre sikt med mindre " +#~ "ikke ble betalt $1 gebyret. fjerde, mpaa hevdet at regningen ville " +#~ "innføre \\\"enorme\\\" kostnader, siden en registreringssystemet ikke er " +#~ "gratis. Sant nok, men disse kostnadene er sikkert mindre enn kostnadene " +#~ "ved å fjerne rettighetene for en copyright der eieren ikke er kjent. " +#~ "femte bekymret de om risikoene hvis opphavsretten til en historie " +#~ "underliggende en film var skjedde i public domain. men hva risikoen er " +#~ "at? Hvis det er allemannseie, deretter er filmen en gyldig avledet bruk." + +#~ msgid "" +#~ "But when the copyright owners oppose a proposal such as the Eldred Act, " +#~ "then, finally, there is an example that lays bare the naked selfinterest " +#~ "driving this war. This act would free an extraordinary range of content " +#~ "that is otherwise unused. It wouldn't interfere with any copyright " +#~ "owner's desire to exercise continued control over his content. It would " +#~ "simply liberate what Kevin Kelly calls the \\\"Dark Content\\\" that " +#~ "fills archives around the world. So when the warriors oppose a change " +#~ "like this, we should ask one simple question:" +#~ msgstr "" +#~ "men når opphavsrett eierne motsette et forslag som eldred act, så, til " +#~ "slutt, er det et eksempel at legger bare naken selfinterest kjører denne " +#~ "krigen. Denne loven ville frigjøre en ekstraordinære rekke innhold som " +#~ "ellers er ubrukt. det ville ikke forstyrre noen opphavsrettsinnehaveren " +#~ "ønske om å utøve fortsatt kontroll over hans innhold. det vil bare " +#~ "frigjøre hva kevin kelly kall det \\\"mørke innholdet\\\" at fyll arkiver " +#~ "rundt om i verden. så når warriors motsette en endring som dette, bør vi " +#~ "ber ett enkelt spørsmål:" + +#~ msgid "" +#~ "The opposition to the Eldred Act reveals how extreme the other side is. " +#~ "The most powerful and sexy and well loved of lobbies really has as its " +#~ "aim not the protection of \\\"property\\\" but the rejection of a " +#~ "tradition. Their aim is not simply to protect what is theirs. Their aim " +#~ "is to assure that all there is is what is theirs." +#~ msgstr "" +#~ "motstanden mot loven eldred avslører hvordan ekstreme den andre siden er. " +#~ "mektigste og sexy og godt elsket av lobbies virkelig har som målet ikke " +#~ "beskyttelse av \\\"property\\\" men avvisningen av en tradisjon. deres " +#~ "mål er ikke bare å beskytte hva er deres. deres mål er å sikre at alt er " +#~ "det er hva er deres." + +#~ msgid "" +#~ "All this seems to follow easily from this untroubled acceptance of the \\" +#~ "\"property\\\" in intellectual property. Common sense supports it, and so " +#~ "long as it does, the assaults will rain down upon the technologies of the " +#~ "Internet. The consequence will be an increasing \\\"permission society.\\" +#~ "\" The past can be cultivated only if you can identify the owner and gain " +#~ "permission to build upon his work. The future will be controlled by this " +#~ "dead (and often unfindable) hand of the past." +#~ msgstr "" +#~ "alt dette synes å følge lett fra denne untroubled aksept av \\\"eiendom\\" +#~ "\" i immaterielle. sunn fornuft støtter det, og så lenge den gjør det, " +#~ "assaults blir regn på teknologien av Internett. konsekvensen vil være et " +#~ "økende \\\"tillatelse samfunn.\\\" fortiden kan dyrkes bare hvis du kan " +#~ "identifisere eieren og få tillatelse til å bygge på hans arbeid. " +#~ "fremtiden vil bli kontrollert av denne døde (og ofte unfindable) hånden " +#~ "av fortiden." + +#~ msgid "" +#~ "Now just step back for a moment. There will be a time thirty years from " +#~ "now when our children look back at us and ask, how could we have let this " +#~ "happen? How could we allow a policy to be pursued whose direct cost would " +#~ "be to speed the death of 15 to 30 million Africans, and whose only real " +#~ "benefit would be to uphold the \\\"sanctity\\\" of an idea? What possible " +#~ "justification could there ever be for a policy that results in so many " +#~ "deaths? What exactly is the insanity that would allow so many to die for " +#~ "such an abstraction?" +#~ msgstr "" +#~ "nå bare skritt tilbake for et øyeblikk. det vil være en gang tretti år " +#~ "fra nå når våre barn ser tilbake på oss og spør, hvordan kan vi la dette " +#~ "skje? Hvordan kan vi tillate en politikk for å gjennomføres med direkte " +#~ "kostnader ville være å øke død 15 til 30 millioner afrikanere, og der " +#~ "bare ekte fordel ville være å opprettholde \\\"sanctity\\\" av en idé? " +#~ "Hva eventuell berettigelse kan det være for en politikk som fører til så " +#~ "mange dødsfall? Hva er den sinnssykdom som ville tillate så mange til å " +#~ "dø for slike en abstraksjon?" + +#~ msgid "" +#~ "A different problem, however, could not be overcome. This is the fear of " +#~ "the grandstanding politician who would call the presidents of the drug " +#~ "companies before a Senate or House hearing, and ask, \\\"How is it you " +#~ "can sell this HIV drug in Africa for only $1 a pill, but the same drug " +#~ "would cost an American $1,500?\\\" Because there is no \\\"sound bite\\\" " +#~ "answer to that question, its effect would be to induce regulation of " +#~ "prices in America. The drug companies thus avoid this spiral by avoiding " +#~ "the first step. They reinforce the idea that property should be sacred. " +#~ "They adopt a rational strategy in an irrational context, with the " +#~ "unintended consequence that perhaps millions die. And that rational " +#~ "strategy thus becomes framed in terms of this ideal--the sanctity of an " +#~ "idea called \\\"intellectual property.\\\"" +#~ msgstr "" +#~ "et annet problem, men kunne ikke bli overvunnet. Dette er frykt for den " +#~ "grandstanding politikeren som ville kalle presidenter av stoffet " +#~ "selskaper før Senatet eller huset hørsel, og spør, \\\"hvor er det du kan " +#~ "selge stoffet hiv i Afrika for bare $1 en pille, men det likt bedøve " +#~ "ville koste en amerikansk $1500?\\\" fordi det er ingen \\\"lyd bite\\\" " +#~ "svar på det spørsmålet, effekten ville være å indusere regulering av " +#~ "priser i Amerika. stoffet selskaper dermed unngå denne spiral ved å unngå " +#~ "det første trinnet. de forsterke ideen om at egenskapen skal være hellig. " +#~ "de vedta en rasjonell strategi i en irrasjonell kontekst, med de " +#~ "utilsiktede konsekvensene som kanskje millioner dø. og at rasjonell " +#~ "strategi dermed ramme når det gjelder dette ideelle--sanctity av en idé " +#~ "som kalles \\\"immaterielle.\\\"" + +#~ msgid "" +#~ "So far, common sense sleeps. There is no revolt. Common sense does not " +#~ "yet see what there could be to revolt about. The extremism that now " +#~ "dominates this debate fits with ideas that seem natural, and that fit is " +#~ "reinforced by the RCAs of our day. They wage a frantic war to fight \\" +#~ "\"piracy,\\\" and devastate a culture for creativity. They defend the " +#~ "idea of \\\"creative property,\\\" while transforming real creators into " +#~ "modern-day sharecroppers. They are insulted by the idea that rights " +#~ "should be balanced, even though each of the major players in this content " +#~ "war was itself a beneficiary of a more balanced ideal. The hypocrisy " +#~ "reeks. Yet in a city like Washington, hypocrisy is not even noticed. " +#~ "Powerful lobbies, complex issues, and MTV attention spans produce the \\" +#~ "\"perfect storm\\\" for free culture." +#~ msgstr "" +#~ "så langt, sunn fornuft sover. Det er ingen opprør. sunn fornuft ser ennå " +#~ "ikke hva det kunne til opprør om. ekstremisme som dominerer nå denne " +#~ "debatten passer med ideer som virker naturlig, og som passer er " +#~ "forsterket av rcas i dag. de føre en panisk krig for å bekjempe \\" +#~ "\"piratkopiering\\\" og herje en kultur for kreativitet. de forsvare " +#~ "ideen om \\\"kreative eiendom\\\" mens transformere virkelige skaperne " +#~ "til dagens sharecroppers. de er fornærmet av ideen at rettigheter bør " +#~ "være balansert, selv om hver av de største aktørene i denne innhold " +#~ "krigen var selv en mottaker av en mer balansert ideell. hykleri reeks. " +#~ "ennå i en by som washington, hykleri er ikke engang merke til. kraftig " +#~ "lobbies, komplekse problemer og mtv oppmerksomhet spenn produsere \\" +#~ "\"perfect storm\\\" gratis kultur." + +#~ msgid "" +#~ "Indeed, I was once publicly scolded for not recognizing this fact about " +#~ "WIPO. In February 2003, I delivered a keynote address to a preparatory " +#~ "conference for the World Summit on the Information Society (WSIS). At a " +#~ "press conference before the address, I was asked what I would say. I " +#~ "responded that I would be talking a little about the importance of " +#~ "balance in intellectual property for the development of an information " +#~ "society. The moderator for the event then promptly interrupted to inform " +#~ "me and the assembled reporters that no question about intellectual " +#~ "property would be discussed by WSIS, since those questions were the " +#~ "exclusive domain of WIPO. In the talk that I had prepared, I had actually " +#~ "made the issue of intellectual property relatively minor. But after this " +#~ "astonishing statement, I made intellectual property the sole focus of my " +#~ "talk. There was no way to talk about an \\\"Information Society\\\" " +#~ "unless one also talked about the range of information and culture that " +#~ "would be free. My talk did not make my immoderate moderator very happy. " +#~ "And she was no doubt correct that the scope of intellectual property " +#~ "protections was ordinarily the stuff of WIPO. But in my view, there " +#~ "couldn't be too much of a conversation about how much intellectual " +#~ "property is needed, since in my view, the very idea of balance in " +#~ "intellectual property had been lost." +#~ msgstr "" +#~ "faktisk var jeg en gang offentlig scolded for ikke å kjenne igjen dette " +#~ "faktum om wipo. i februar 2003 leveres jeg en keynote-adressen til en " +#~ "forberedende konferanse for toppmøtet i verden på informasjonssamfunnet " +#~ "(wsis). på en pressekonferanse før adressen, ble jeg spurt hva jeg vil " +#~ "si. Jeg svarte at jeg skulle snakke litt om betydningen av balanse i " +#~ "immaterielle for utviklingen av en informasjonssamfunn. moderator for " +#~ "hendelsen deretter umiddelbart avbrutt for å informere meg og sammensatte " +#~ "journalister at ingen tvil om immaterielle vil bli diskutert av wsis, " +#~ "siden disse spørsmålene var at et eksklusivt domene av wipo. i talk at " +#~ "jeg hadde forberedt, hadde jeg faktisk gjorde saken av åndsverk som er " +#~ "relativt små. men etter denne forbløffende erklæringen, jeg gjorde " +#~ "immaterielle eneste fokus på mitt snakk. Det var ikke mulig å snakke om " +#~ "en \\\"informasjonssamfunnet\\\", med mindre en også snakket om omfanget " +#~ "av informasjon og kultur som vil være gratis. min snakk gjorde ikke min " +#~ "immoderate moderator veldig glad. og hun var uten tvil riktig at omfanget " +#~ "av beskyttelse av intellektuell eiendom var vanligvis ting av wipo. men " +#~ "etter min mening, det kunne ikke være for mye av en samtale om hvor mye " +#~ "immaterielle er nødvendig, siden etter mitt syn er selve ideen om balanse " +#~ "i immaterielle hadde gått tapt." + +#~ msgid "" +#~ "So whether or not WSIS can discuss balance in intellectual property, I " +#~ "had thought it was taken for granted that WIPO could and should. And thus " +#~ "the meeting about \\\"open and collaborative projects to create public " +#~ "goods\\\" seemed perfectly appropriate within the WIPO agenda." +#~ msgstr "" +#~ "så om wsis kan diskutere saldoen i intellektuell eiendom, hadde jeg " +#~ "trodde det var tatt for gitt at wipo kan og bør. og dermed møtet om \\" +#~ "\"åpent og nært prosjekter til å opprette offentlige varer\\\" virket " +#~ "perfekt passende innen wipo-agendaen." + +#~ msgid "" +#~ "But there is one project within that list that is highly controversial, " +#~ "at least among lobbyists. That project is \\\"open source and free " +#~ "software.\\\" Microsoft in particular is wary of discussion of the " +#~ "subject. From its perspective, a conference to discuss open source and " +#~ "free software would be like a conference to discuss Apple's operating " +#~ "system. Both open source and free software compete with Microsoft's " +#~ "software. And internationally, many governments have begun to explore " +#~ "requirements that they use open source or free software, rather than \\" +#~ "\"proprietary software,\\\" for their own internal uses." +#~ msgstr "" +#~ "men det er ett prosjekt i listen som er svært kontroversielt, minst blant " +#~ "lobbyister. Dette prosjektet er \\\"åpen kildekode og gratis programvare." +#~ "\\\" microsoft spesielt er skeptisk til diskusjon om emnet. fra sin " +#~ "perspektiv, ville en konferanse for å diskutere åpen kildekode og fri " +#~ "programvare være som en konferanse for å diskutere Apples operativsystem. " +#~ "både åpen kildekode og fri programvare kan du konkurrere med Microsofts " +#~ "programvare. og internasjonalt, mange regjeringer har begynt å utforske " +#~ "krav at de bruker åpen kildekode eller gratis programvare, snarere enn \\" +#~ "\"proprietær programvare,\\\" for sine egne interne bruk." + +#~ msgid "" +#~ "More important for our purposes, to support \\\"open source and free " +#~ "software\\\" is not to oppose copyright. \\\"Open source and free software" +#~ "\\\" is not software in the public domain. Instead, like Microsoft's " +#~ "software, the copyright owners of free and open source software insist " +#~ "quite strongly that the terms of their software license be respected by " +#~ "adopters of free and open source software. The terms of that license are " +#~ "no doubt different from the terms of a proprietary software license. " +#~ "Free software licensed under the General Public License (GPL), for " +#~ "example, requires that the source code for the software be made available " +#~ "by anyone who modifies and redistributes the software. But that " +#~ "requirement is effective only if copyright governs software. If copyright " +#~ "did not govern software, then free software could not impose the same " +#~ "kind of requirements on its adopters. It thus depends upon copyright law " +#~ "just as Microsoft does." +#~ msgstr "" +#~ "mer viktig for vårt formål, å støtte \\\"åpen kildekode og fri programvare" +#~ "\\\" er ikke til å motsette copyright. \\\"åpen kildekode og fri " +#~ "programvare\\\" er ikke programvare i den offentlige sfæren. i stedet, " +#~ "som Microsofts programvare, opphavsrett eierne av gratis og åpen " +#~ "kildekode programvare insistere ganske sterkt at vilkårene i deres " +#~ "programvarelisens respekteres av adoptert av ledig og åpen kilde-" +#~ "programvare. vilkårene i denne lisensen er ingen tvil om forskjellige fra " +#~ "vilkårene i en proprietær programvare-lisens. fri programvare lisensiert " +#~ "under general public license (gpl), krever for eksempel at kildekoden for " +#~ "programvaren gjøres tilgjengelig av alle som endrer og redistribuerer " +#~ "programvaren. men at kravet er effektivt bare hvis copyright styrer " +#~ "programvare. Hvis copyright ikke styre programvare, kan deretter fri " +#~ "programvare ikke pålegge samme type krav på sin adoptert. det dermed " +#~ "avhenger lov om opphavsrett på samme måte som microsoft." + +#~ msgid "" +#~ "What was surprising was the United States government's reason for " +#~ "opposing the meeting. Again, as reported by Krim, Lois Boland, acting " +#~ "director of international relations for the U.S. Patent and Trademark " +#~ "Office, explained that \\\"open-source software runs counter to the " +#~ "mission of WIPO, which is to promote intellectual-property rights.\\\" " +#~ "She is quoted as saying, \\\"To hold a meeting which has as its purpose " +#~ "to disclaim or waive such rights seems to us to be contrary to the goals " +#~ "of WIPO.\\\"" +#~ msgstr "" +#~ "Hva var overraskende var USA regjeringens begrunnelse for motstridende " +#~ "møtet. igjen, som rapportert av krim, lois boland, direktør ved " +#~ "internasjonale forbindelser for US patent og trademark office, forklarte " +#~ "at \\\"åpen kilde-programvare kjører teller til mission av wipo, som er å " +#~ "fremme intellektuelle-egenskapen rettigheter.\\\" hun er sitert som sier, " +#~ "\\\"for å holde et møte som har som sitt formål å fraskriver seg eller " +#~ "frafalle slike rettigheter synes å oss å være i strid med målene for wipo." +#~ "\\\"" + +#~ msgid "" +#~ "First, they are just flat wrong. As I described, most open source and " +#~ "free software relies fundamentally upon the intellectual property right " +#~ "called \\\"copyright.\\\" Without it, restrictions imposed by those " +#~ "licenses wouldn't work. Thus, to say it \\\"runs counter\\\" to the " +#~ "mission of promoting intellectual property rights reveals an " +#~ "extraordinary gap in understanding--the sort of mistake that is excusable " +#~ "in a first-year law student, but an embarrassment from a high government " +#~ "official dealing with intellectual property issues." +#~ msgstr "" +#~ "først, de er bare flatt feil. som jeg beskrevet, mest åpen kildekode og " +#~ "fri programvare avhengig fundamentalt immaterielle rett kalt \\" +#~ "\"copyright.\\\" uten den, restriksjoner pålagt av disse lisensene ikke " +#~ "ville fungere. Derfor, for å si det \\\"kjører teller\\\" til mission for " +#~ "å fremme immaterielle rettigheter avslører en ekstraordinære gapet i " +#~ "forståelse--slags feil som er unnskyldelig i jus første året, men en " +#~ "forlegenhet fra en høy statstjenesteperson håndtere intellektuell eiendom " +#~ "problemer." + +#~ msgid "" +#~ "Second, who ever said that WIPO's exclusive aim was to \\\"promote\\\" " +#~ "intellectual property maximally? As I had been scolded at the preparatory " +#~ "conference of WSIS, WIPO is to consider not only how best to protect " +#~ "intellectual property, but also what the best balance of intellectual " +#~ "property is. As every economist and lawyer knows, the hard question in " +#~ "intellectual property law is to find that balance. But that there should " +#~ "be limits is, I had thought, uncontested. One wants to ask Ms. Boland, " +#~ "are generic drugs (drugs based on drugs whose patent has expired) " +#~ "contrary to the WIPO mission? Does the public domain weaken intellectual " +#~ "property? Would it have been better if the protocols of the Internet had " +#~ "been patented?" +#~ msgstr "" +#~ "sekund, som noen gang sa at wipo eksklusive målet var å \\\"fremme\\\" " +#~ "immaterielle maksimalt? som jeg hadde vært scolded på forberedende " +#~ "konferansen av wsis, wipo er å vurdere hvordan man best kan beskytte " +#~ "åndsverk, men også hva beste balanse av åndsverk. som alle økonom og " +#~ "advokat vet, er det vanskelige spørsmålet i lovgivning for immaterielle å " +#~ "finne denne balansen. men at det bør være grensene er, jeg hadde tenkt, " +#~ "ubestridt. man ønsker å spørre ms. Boland, er generiske legemidler " +#~ "(legemidler basert på narkotika med patent har utløpt) i strid med wipo-" +#~ "oppdrag? allemannseie svekke immaterielle? ville det ha vært bedre hvis " +#~ "protokoller av Internett hadde vært patenterte?" + +#~ msgid "" +#~ "Third, even if one believed that the purpose of WIPO was to maximize " +#~ "intellectual property rights, in our tradition, intellectual property " +#~ "rights are held by individuals and corporations. They get to decide what " +#~ "to do with those rights because, again, they are their rights. If they " +#~ "want to \\\"waive\\\" or \\\"disclaim\\\" their rights, that is, within " +#~ "our tradition, totally appropriate. When Bill Gates gives away more than " +#~ "$20 billion to do good in the world, that is not inconsistent with the " +#~ "objectives of the property system. That is, on the contrary, just what a " +#~ "property system is supposed to be about: giving individuals the right to " +#~ "decide what to do with their property." +#~ msgstr "" +#~ "tredje, selv om en antatt at hensikten med wipo var å maksimere " +#~ "immaterielle rettigheter, i vår tradisjon, immaterielle rettigheter er " +#~ "holdt av individer og selskaper. de kommer til å bestemme hva de skal " +#~ "gjøre med disse rettighetene fordi, igjen, de er deres rettigheter. Hvis " +#~ "de ønsker å \\\"frafalle\\\" eller \\\"fraskriver\\\" deres rettigheter, " +#~ "det vil si at innen vår tradisjon, helt riktig. Når bill gates gir bort " +#~ "mer enn $20 milliarder til å gjøre godt i verden, det er ikke uforenlig " +#~ "med målene for egenskapen systemet. det vil si tvert imot, bare hva et " +#~ "egenskapen system er ment for å være om: å gi enkeltpersoner retten til å " +#~ "avgjøre hva å gjøre med deres eiendom." + +#~ msgid "" +#~ "When Ms. Boland says that there is something wrong with a meeting \\" +#~ "\"which has as its purpose to disclaim or waive such rights,\\\" she's " +#~ "saying that WIPO has an interest in interfering with the choices of the " +#~ "individuals who own intellectual property rights. That somehow, WIPO's " +#~ "objective should be to stop an individual from \\\"waiving\\\" or \\" +#~ "\"disclaiming\\\" an intellectual property right. That the interest of " +#~ "WIPO is not just that intellectual property rights be maximized, but that " +#~ "they also should be exercised in the most extreme and restrictive way " +#~ "possible." +#~ msgstr "" +#~ "Når MS boland sier at det er noe galt med et møte \\\"som har som sitt " +#~ "formål å fraskriver seg eller frafalle slike rettigheter, sier hun sier " +#~ "at wipo har en interesse i forstyrre valgene av enkeltpersoner som selv " +#~ "immaterielle rettigheter. at noe wipo's målet bør være å stoppe en person " +#~ "fra \\\"waiving\\\" eller \\\"fraskrivelser\\\" en eiendomsrett. at " +#~ "interesse av wipo ikke er bare at immaterielle rettigheter er maksimert, " +#~ "men at de også kan vere mest ekstreme og restriktiv mulig." + +#~ msgid "" +#~ "There is a history of just such a property system that is well known in " +#~ "the Anglo-American tradition. It is called \\\"feudalism.\\\" Under " +#~ "feudalism, not only was property held by a relatively small number of " +#~ "individuals and entities. And not only were the rights that ran with that " +#~ "property powerful and extensive. But the feudal system had a strong " +#~ "interest in assuring that property holders within that system not weaken " +#~ "feudalism by liberating people or property within their control to the " +#~ "free market. Feudalism depended upon maximum control and concentration. " +#~ "It fought any freedom that might interfere with that control." +#~ msgstr "" +#~ "Det er en historie om bare slikt egenskapen system som er godt kjent i " +#~ "anglo-amerikanske tradisjonen. Det kalles \\\"føydalisme.\\\" under " +#~ "føydalisme, ikke bare var egenskapen holdt av et relativt lite antall " +#~ "individer og entiteter. og ikke bare var de samme rettighetene som kjørte " +#~ "med egenskapen kraftig og omfattende. men føydale systemet hadde en sterk " +#~ "interesse for å sikre at eiendom holders i dette systemet ikke svekke " +#~ "føydalisme av frigjørende personer eller egenskapen innenfor deres " +#~ "kontroll til det frie markedet. Føydalisme depended upon maksimal " +#~ "kontroll og konsentrasjon. det kjempet noen friheten som kan forstyrre " +#~ "denne kontrollen." + +#~ msgid "" +#~ "George, you misunderstand Lessig: He's only talking about the world as it " +#~ "should be (\\\"the goal of WIPO, and the goal of any government, should " +#~ "be to promote the right balance of intellectualproperty rights, not " +#~ "simply to promote intellectual property rights\\\"), not as it is. If we " +#~ "were talking about the world as it is, then of course Boland didn't say " +#~ "anything wrong. But in the world as Lessig would have it, then of course " +#~ "she did. Always pay attention to the distinction between Lessig's world " +#~ "and ours." +#~ msgstr "" +#~ "George, du misforstå lessig: han bare snakker om verden som den skal (\\" +#~ "\"Målet med wipo og mål av enhver regjering, bør være å fremme den rette " +#~ "balansen av intellectualproperty rettigheter, ikke bare for å fremme " +#~ "immaterielle rettigheter\\\"), ikke som det er. Hvis vi snakker om i " +#~ "verden som det er, så si selvfølgelig boland ikke noe galt. men i verden " +#~ "som lessig ville ha det, så selvfølgelig hun gjorde. alltid ta hensyn til " +#~ "skillet mellom lessig's verden og vår." + +#~ msgid "" +#~ "Obviously, however, the poster was not supporting that idea. Instead, " +#~ "the poster was ridiculing the very idea that in the real world, the \\" +#~ "\"goal\\\" of a government should be \\\"to promote the right balance\\\" " +#~ "of intellectual property. That was obviously silly to him. And it " +#~ "obviously betrayed, he believed, my own silly utopianism. \\\"Typical for " +#~ "an academic,\\\" the poster might well have continued." +#~ msgstr "" +#~ "åpenbart, men plakaten var ikke støtter at ideen. i stedet, plakaten var " +#~ "latterliggjøre the very ideen om at i den virkelige verden, \\\"mål\\\" " +#~ "av en regjering bør være \\\"for å fremme den rette balansen\\\" av " +#~ "åndsverk. Det var tydeligvis dum til ham. og det åpenbart forrådt, han " +#~ "mente, min egen dum utopianism. \\\"typisk for en akademiker,\\\" " +#~ "plakaten kan godt har fortsatt." + +#~ msgid "" +#~ "It is therefore significant that so many would rally to demand " +#~ "competition and increased diversity. Still, if the rally is understood as " +#~ "being about bigness alone, it is not terribly surprising. We Americans " +#~ "have a long history of fighting \\\"big,\\\" wisely or not. That we could " +#~ "be motivated to fight \\\"big\\\" again is not something new." +#~ msgstr "" +#~ "Det er derfor viktig at så mange vil rally til etterspørselen konkurranse " +#~ "og økt mangfold. Likevel, hvis rally er forstått som om bigness alene, " +#~ "det er ikke veldig overraskende. Vi amerikanere har en lang historie med " +#~ "å slåss \\\"stort,\\\" klokt eller ikke. at vi kunne være motivert til å " +#~ "slåss er \\\"store\\\" igjen ikke noe nytt." + +#~ msgid "" +#~ "It would be something new, and something very important, if an equal " +#~ "number could be rallied to fight the increasing extremism built within " +#~ "the idea of \\\"intellectual property.\\\" Not because balance is alien " +#~ "to our tradition; indeed, as I've argued, balance is our tradition. But " +#~ "because the muscle to think critically about the scope of anything called " +#~ "\\\"property\\\" is not well exercised within this tradition anymore." +#~ msgstr "" +#~ "det ville være noe nytt, og noe veldig viktig, hvis like mange kan være " +#~ "rallied for å bekjempe økende ekstremisme bygget i ideen om \\" +#~ "\"intellektuelle eiendom.\\\" ikke fordi balanse er alien til vår " +#~ "tradisjon; som jeg har hevdet, er faktisk vår tradisjon i balanse. men " +#~ "fordi muskler til å tenke kritisk på omfanget av noe kalt \\\"property\\" +#~ "\" ikke er frisk trenet i denne tradisjonen lenger." + +#~ msgid "" +#~ "The mistake here is the error of the excluded middle. There are extremes " +#~ "in this debate, but the extremes are not all that there is. There are " +#~ "those who believe in maximal copyright--\\\"All Rights Reserved\\\"-- and " +#~ "those who reject copyright--\\\"No Rights Reserved.\\\" The \\\"All " +#~ "Rights Reserved\\\" sorts believe that you should ask permission before " +#~ "you \\\"use\\\" a copyrighted work in any way. The \\\"No Rights Reserved" +#~ "\\\" sorts believe you should be able to do with content as you wish, " +#~ "regardless of whether you have permission or not." +#~ msgstr "" +#~ "feil her er feil om den ekskluderte tredje. Det er ekstreme i denne " +#~ "debatten, men ekstreme er ikke alt som det er. Det er de som tror på " +#~ "maksimal copyright--\\\"all rights reserved\\\"-- og de som avviser " +#~ "copyright--\\\"ingen rettigheter reservert\\\". \\\"all rights reserved\\" +#~ "\" sorterer mener at du bør spørre tillatelse før du \\\"Bruk\\\" en " +#~ "opphavsrettslig beskyttede verk som på noen måte. \\\"ingen rettigheter " +#~ "reservert\\\" sorterer tror du burde være i stand til å gjøre med innhold " +#~ "som du ønsker, uavhengig av om du har tillatelse eller ikke." + +#~ msgid "" +#~ "When the Internet was first born, its initial architecture effectively " +#~ "tilted in the \\\"no rights reserved\\\" direction. Content could be " +#~ "copied perfectly and cheaply; rights could not easily be controlled. " +#~ "Thus, regardless of anyone's desire, the effective regime of copyright " +#~ "under the original design of the Internet was \\\"no rights reserved.\\\" " +#~ "Content was \\\"taken\\\" regardless of the rights. Any rights were " +#~ "effectively unprotected." +#~ msgstr "" +#~ "da Internett ble født, skråstilt sin første arkitektur effektivt i " +#~ "retning \\\"ingen rettigheter reservert\\\". innholdet kan kopieres " +#~ "perfekt og billig; rettigheter kan ikke lett kontrolleres. Således, " +#~ "uavhengig av hvem som helst ønske, effektiv regimet av opphavsrett under " +#~ "den opprinnelige utformingen av Internett var \\\"ingen rettigheter " +#~ "reservert.\\\" innhold ble \\\"tatt\\\" uavhengig av rettighetene. alle " +#~ "rettigheter som var effektivt ubeskyttet." + +#~ msgid "" +#~ "This initial character produced a reaction (opposite, but not quite " +#~ "equal) by copyright owners. That reaction has been the topic of this " +#~ "book. Through legislation, litigation, and changes to the network's " +#~ "design, copyright holders have been able to change the essential " +#~ "character of the environment of the original Internet. If the original " +#~ "architecture made the effective default \\\"no rights reserved,\\\" the " +#~ "future architecture will make the effective default \\\"all rights " +#~ "reserved.\\\" The architecture and law that surround the Internet's " +#~ "design will increasingly produce an environment where all use of content " +#~ "requires permission. The \\\"cut and paste\\\" world that defines the " +#~ "Internet today will become a \\\"get permission to cut and paste\\\" " +#~ "world that is a creator's nightmare." +#~ msgstr "" +#~ "dette første tegnet produsert en reaksjon (motsatt, men ikke helt like) " +#~ "av eiere av opphavsretter. som reaksjon har vært tema for denne boken. " +#~ "gjennom lovgivning, søksmål og endringer til nettverkets design, har " +#~ "innehaver av opphavsrett vært i stand til å endre det avgjørende tegnet " +#~ "av det opprinnelige Internett-miljøet. Hvis den originale arkitekturen " +#~ "gjort effektiv standard \\\"ingen rettigheter reservert\\\", vil den " +#~ "fremtidige arkitekturen gjøre effektiv standard \\\"all rights reserved.\\" +#~ "\" arkitektur og lov som omgir Internetts design vil stadig produsere et " +#~ "miljø der alle bruk av innhold som krever tillatelse. \\\"klippe og lime\\" +#~ "\" verden som definerer Internett i dag vil bli en \\\"få tillatelse til " +#~ "å klippe og lime\\\" verden som er en creator mareritt." + +#~ msgid "" +#~ "What's needed is a way to say something in the middle--neither \\\"all " +#~ "rights reserved\\\" nor \\\"no rights reserved\\\" but \\\"some rights " +#~ "reserved\\\"-- and thus a way to respect copyrights but enable creators " +#~ "to free content as they see fit. In other words, we need a way to restore " +#~ "a set of freedoms that we could just take for granted before." +#~ msgstr "" +#~ "Hva trenger er en måte å si noe i midten--verken \\\"all rights reserved\\" +#~ "\" eller \\\"ingen rettigheter reservert\\\" men \\\"noen rettigheter " +#~ "reservert\\\"- og dermed en måte å Respekter opphavsrettigheter, men " +#~ "aktivere skaperne til gratis innhold som de ønsker. med andre ord, " +#~ "trenger vi en måte å gjenopprette et sett med andre friheter som vi bare " +#~ "kunne ta for gitt før." + +#~ msgid "" +#~ "If you step back from the battle I've been describing here, you will " +#~ "recognize this problem from other contexts. Think about privacy. Before " +#~ "the Internet, most of us didn't have to worry much about data about our " +#~ "lives that we broadcast to the world. If you walked into a bookstore and " +#~ "browsed through some of the works of Karl Marx, you didn't need to worry " +#~ "about explaining your browsing habits to your neighbors or boss. The \\" +#~ "\"privacy\\\" of your browsing habits was assured." +#~ msgstr "" +#~ "Hvis du går tilbake fra slaget som jeg har vært beskriver her, vil du " +#~ "gjenkjenne dette problemet fra andre sammenhenger. Tenk om personvern. " +#~ "før Internett måtte de fleste av oss ikke bekymre deg mye om data om våre " +#~ "liv at vi broadcast til world. Hvis du gikk inn i en bokhandel og bladde " +#~ "gjennom noen av verk av karl marx, du ikke trenger å bekymre deg om å " +#~ "forklare Internett-vanene dine naboer eller sjefen. du surfer vaner \\" +#~ "\"personvern\\\" var trygg på." + +#~ msgid "" +#~ "Well, if we think in terms of the modalities I described in chapter 10, " +#~ "your privacy was assured because of an inefficient architecture for " +#~ "gathering data and hence a market constraint (cost) on anyone who wanted " +#~ "to gather that data. If you were a suspected spy for North Korea, working " +#~ "for the CIA, no doubt your privacy would not be assured. But that's " +#~ "because the CIA would (we hope) find it valuable enough to spend the " +#~ "thousands required to track you. But for most of us (again, we can hope), " +#~ "spying doesn't pay. The highly inefficient architecture of real space " +#~ "means we all enjoy a fairly robust amount of privacy. That privacy is " +#~ "guaranteed to us by friction. Not by law (there is no law protecting \\" +#~ "\"privacy\\\" in public places), and in many places, not by norms " +#~ "(snooping and gossip are just fun), but instead, by the costs that " +#~ "friction imposes on anyone who would want to spy." +#~ msgstr "" +#~ "Vel, hvis vi tror når det gjelder metoder jeg beskrevet i kapittel 10, " +#~ "personvernet var forsikret på grunn av en ineffektiv arkitektur for å " +#~ "samle data og dermed betingelsen markedet (kostnader) på alle som ønsket " +#~ "å samle inn disse dataene. Hvis du var en mistenkt spion for Nord-korea, " +#~ "ville arbeider for cia, ingen tvil om personvernet ikke være trygg. men " +#~ "det er fordi vil cia (håper vi) finne det verdifullt nok til å bruke " +#~ "tusenvis som er nødvendig for å spore deg. men for de fleste av oss " +#~ "(igjen, vi kan håper), spionere ikke betaler. svært ineffektiv arkitektur " +#~ "virkelige rommet betyr at vi alle nyte en ganske robust mengden " +#~ "personvern. at personvern er garantert til oss ved hjelp av friksjon. " +#~ "ikke ved loven (det er ingen lov som beskytter \\\"personvern\\\" i " +#~ "offentlige steder), og mange steder, ikke av normer (snooping og sladder " +#~ "er bare morsomt), men i stedet av kostnader som friksjon pålegger på alle " +#~ "som ønsker å spy." + +#~ msgid "" +#~ "Enter the Internet, where the cost of tracking browsing in particular has " +#~ "become quite tiny. If you're a customer at Amazon, then as you browse the " +#~ "pages, Amazon collects the data about what you've looked at. You know " +#~ "this because at the side of the page, there's a list of \\\"recently " +#~ "viewed\\\" pages. Now, because of the architecture of the Net and the " +#~ "function of cookies on the Net, it is easier to collect the data than " +#~ "not. The friction has disappeared, and hence any \\\"privacy\\\" " +#~ "protected by the friction disappears, too." +#~ msgstr "" +#~ "Angi Internett, der kostnaden for sporing av surfing spesielt har blitt " +#~ "ganske liten. Hvis du er en kunde på amazon, deretter samler som du blar " +#~ "gjennom sidene, amazon data om hva du har sett på. du vet dette fordi på " +#~ "side av siden, er det en liste over \\\"sist sett\\\" sider. nå, på grunn " +#~ "av arkitekturen på nettet og funksjon av informasjonskapsler på nettet, " +#~ "er det enklere å samle inn data enn ikke. friksjonen har forsvunnet, og " +#~ "dermed alle \\\"personvern\\\" beskyttet av friksjonen forsvinner, også." + +#~ msgid "" +#~ "Amazon, of course, is not the problem. But we might begin to worry about " +#~ "libraries. If you're one of those crazy lefties who thinks that people " +#~ "should have the \\\"right\\\" to browse in a library without the " +#~ "government knowing which books you look at (I'm one of those lefties, " +#~ "too), then this change in the technology of monitoring might concern you. " +#~ "If it becomes simple to gather and sort who does what in electronic " +#~ "spaces, then the friction-induced privacy of yesterday disappears." +#~ msgstr "" +#~ "Amazon, selvfølgelig, er ikke problemet. men vi kan begynne å bekymre deg " +#~ "om biblioteker. Hvis du er en av de sprø lefties som mener at folk skal " +#~ "ha \\\"rett\\\" til å bla i et bibliotek uten regjeringen å vite hvilke " +#~ "bøker du ser på (jeg er en av disse lefties også), og deretter denne " +#~ "endringen i teknologien for overvåking kan angår deg. Hvis det blir " +#~ "enkelt å samle og sortere hvem gjør hva i elektronisk mellomrom, " +#~ "forsvinner personvern friksjon i går." + +#~ msgid "" +#~ "Simple--which means without a middleman, or without a lawyer. By " +#~ "developing a free set of licenses that people can attach to their " +#~ "content, Creative Commons aims to mark a range of content that can " +#~ "easily, and reliably, be built upon. These tags are then linked to " +#~ "machine-readable versions of the license that enable computers " +#~ "automatically to identify content that can easily be shared. These three " +#~ "expressions together--a legal license, a human-readable description, and " +#~ "machine-readable tags--constitute a Creative Commons license. A Creative " +#~ "Commons license constitutes a grant of freedom to anyone who accesses the " +#~ "license, and more importantly, an expression of the ideal that the person " +#~ "associated with the license believes in something different than the \\" +#~ "\"All\\\" or \\\"No\\\" extremes. Content is marked with the CC mark, " +#~ "which does not mean that copyright is waived, but that certain freedoms " +#~ "are given." +#~ msgstr "" +#~ "enkel, noe som betyr at uten en mellommann, eller uten en advokat. ved å " +#~ "utvikle et gratis sett av lisenser som folk kan knytte til deres innhold, " +#~ "creative commons har som mål å markere et utvalg av innhold som kan " +#~ "enkelt og pålitelig, være bygget på. disse kodene er deretter koblet til " +#~ "maskinlesbar versjoner av lisensen som gjør at datamaskiner automatisk å " +#~ "identifisere innhold som kan lett deles. disse tre uttrykkene sammen--en " +#~ "juridisk lisens, en lesbar beskrivelse og maskinlesbar koder--utgjør en " +#~ "creative commons-lisens. en creative commons-lisens utgjør en bevilgning " +#~ "av frihet til alle som har tilgang til lisensen, og enda viktigere, et " +#~ "uttrykk for ideelt som personen som er knyttet til lisensen tror på noe " +#~ "annet enn \\\"all\\\" eller \\\"Nei\\\" ekstreme. innholdet er merket med " +#~ "kopi-merket, som ikke betyr at copyright fratres, men at visse friheter " +#~ "er gitt." + +#~ msgid "" +#~ "These freedoms are beyond the freedoms promised by fair use. Their " +#~ "precise contours depend upon the choices the creator makes. The creator " +#~ "can choose a license that permits any use, so long as attribution is " +#~ "given. She can choose a license that permits only noncommercial use. She " +#~ "can choose a license that permits any use so long as the same freedoms " +#~ "are given to other uses (\\\"share and share alike\\\"). Or any use so " +#~ "long as no derivative use is made. Or any use at all within developing " +#~ "nations. Or any sampling use, so long as full copies are not made. Or " +#~ "lastly, any educational use." +#~ msgstr "" +#~ "Disse frihetene er utenfor friheter lovet av fair use. deres presis " +#~ "konturer, avhenger av valgene skaperen gjør. skaperen kan velge en lisens " +#~ "som tillater enhver bruk, så lenge henvisning er gitt. hun kan velge en " +#~ "lisens som tillater bare ikke-kommersiell bruk. hun kan velge en lisens " +#~ "som tillater enhver bruk så lenge de samme frihetene er gitt til andre " +#~ "bruker (\\\"del og share alike\\\"). eller enhver bruk så lenge ingen " +#~ "avledede bruk er gjort. eller noen bruke overhodet i utviklingsland. " +#~ "eller noen prøvetaking bruk, så lenge alle kopiene ikke er laget. eller " +#~ "til slutt, noen pedagogisk bruk." + +#~ msgid "" +#~ "This is just one project among many within the Creative Commons. And of " +#~ "course, Creative Commons is not the only organization pursuing such " +#~ "freedoms. But the point that distinguishes the Creative Commons from many " +#~ "is that we are not interested only in talking about a public domain or in " +#~ "getting legislators to help build a public domain. Our aim is to build a " +#~ "movement of consumers and producers of content (\\\"content conducers,\\" +#~ "\" as attorney Mia Garlick calls them) who help build the public domain " +#~ "and, by their work, demonstrate the importance of the public domain to " +#~ "other creativity." +#~ msgstr "" +#~ "Dette er bare ett prosjekt blant mange innenfor creative commons. og " +#~ "selvfølgelig, creative commons er ikke den eneste organisasjonen å " +#~ "forfølge slike friheter. men poenget som skiller creative commons fra " +#~ "mange er at vi ikke er interessert i å få lovgivere til å bygge et " +#~ "frivare eller bare i snakker om et frivare. vårt mål er å bygge en " +#~ "bevegelse av forbrukere og produsenter av innhold (\\\"innhold conducers," +#~ "\\\" som advokat mia garlick kaller dem) hvem hjelpe bygge allemannseie, " +#~ "og ved deres arbeid, demonstrere viktigheten av public domain til andre " +#~ "kreativitet." + +#~ msgid "" +#~ "The aim is not to fight the \\\"All Rights Reserved\\\" sorts. The aim is " +#~ "to complement them. The problems that the law creates for us as a culture " +#~ "are produced by insane and unintended consequences of laws written " +#~ "centuries ago, applied to a technology that only Jefferson could have " +#~ "imagined. The rules may well have made sense against a background of " +#~ "technologies from centuries ago, but they do not make sense against the " +#~ "background of digital technologies. New rules--with different freedoms, " +#~ "expressed in ways so that humans without lawyers can use them--are " +#~ "needed. Creative Commons gives people a way effectively to begin to build " +#~ "those rules." +#~ msgstr "" +#~ "Målet er ikke å kjempe \\\"med enerett\\\"-sorteringer. Målet er å " +#~ "utfylle dem. problemene som loven oppretter for oss som en kultur er " +#~ "produsert av galskap og utilsiktede konsekvenser av lover skrevet " +#~ "århundrer siden, brukt til en teknologi som bare jefferson kunne ha " +#~ "forestilt meg. reglene kan godt ha gjort følelse mot et bakteppe av " +#~ "teknologi fra århundrer siden, men de gjør ikke fornuftig på bakgrunn av " +#~ "digitale teknologier. nye regler--med forskjellige friheter, uttrykt i " +#~ "måter slik at mennesker uten advokater kan bruke dem – er nødvendig. " +#~ "Creative commons gir folk en måte for effektivt å begynne å bygge disse " +#~ "reglene." + +#~ msgid "" +#~ "Finally, there are many who mark their content with a Creative Commons " +#~ "license just because they want to express to others the importance of " +#~ "balance in this debate. If you just go along with the system as it is, " +#~ "you are effectively saying you believe in the \\\"All Rights Reserved\\\" " +#~ "model. Good for you, but many do not. Many believe that however " +#~ "appropriate that rule is for Hollywood and freaks, it is not an " +#~ "appropriate description of how most creators view the rights associated " +#~ "with their content. The Creative Commons license expresses this notion of " +#~ "\\\"Some Rights Reserved,\\\" and gives many the chance to say it to " +#~ "others." +#~ msgstr "" +#~ "Endelig er det mange som merker innholdet med en creative commons-lisens, " +#~ "bare fordi de ønsker å uttrykke til andre betydningen av saldoen i denne " +#~ "debatten. Hvis du bare gå sammen med systemet som det er, sier du " +#~ "effektivt du tror på \\\"all rights reserved\\\"-modellen. bra for deg, " +#~ "men mange gjør det ikke. mange tror at men passer denne regelen er for " +#~ "hollywood og freaks, det ikke er en passende beskrivelse av hvordan de " +#~ "fleste skaperne vise rettigheter knyttet til deres innhold. creative " +#~ "commons-lisens uttrykker dette begrepet \\\"noen rettigheter reservert\\" +#~ "\", og gir mange sjansen til å si det til andre." + +#~ msgid "" +#~ "In contrast, under current copyright law, you automatically get a " +#~ "copyright, regardless of whether you comply with any formality. You don't " +#~ "have to register. You don't even have to mark your content. The default " +#~ "is control, and \\\"formalities\\\" are banished." +#~ msgstr "" +#~ "derimot under gjeldende lov om opphavsrett få du automatisk en " +#~ "opphavsrett, uavhengig av om du overholder eventuelle formalitet. du " +#~ "trenger ikke å registrere deg. du trenger ikke engang å merke innholdet. " +#~ "standard er kontrollen, og \\\"formaliteter\\\" er kastet ut." + +#~ msgid "" +#~ "No doubt the extremists will call these ideas \\\"radical.\\\" (After " +#~ "all, I call them \\\"extremists.\\\") But again, the term I recommended " +#~ "was longer than the term under Richard Nixon. How \\\"radical\\\" can it " +#~ "be to ask for a more generous copyright law than Richard Nixon presided " +#~ "over?" +#~ msgstr "" +#~ "uten tvil vil ekstremistene kalle disse ideene \\\"radikale\\\". (tross " +#~ "alt, jeg kaller dem \\\"ekstremister.\\\") men igjen, jeg anbefalt " +#~ "begrepet var lengre enn begrepet under richard nixon. hvordan \\\"radikale" +#~ "\\\" kan det være for å be om en mer sjenerøs opphavsrettighet enn " +#~ "richard nixon presided over?" + +#~ msgid "" +#~ "Our Constitution gives Congress the power to give authors \\\"exclusive " +#~ "right\\\" to \\\"their writings.\\\" Congress has given authors an " +#~ "exclusive right to \\\"their writings\\\" plus any derivative writings " +#~ "(made by others) that are sufficiently close to the author's original " +#~ "work. Thus, if I write a book, and you base a movie on that book, I have " +#~ "the power to deny you the right to release that movie, even though that " +#~ "movie is not \\\"my writing.\\\"" +#~ msgstr "" +#~ "vår grunnlov gir Kongressen makt til å gi forfattere \\\"eksklusiv rett\\" +#~ "\" til \\\"deres skrifter.\\\" Kongressen har gitt forfatterne en " +#~ "eksklusiv rett til å \\\"deres skrifter\\\" pluss eventuelle avledede " +#~ "skrifter (laget av andre) som er tilstrekkelig nær forfatterens " +#~ "opprinnelige arbeid. Dermed, hvis jeg skrive en bok og en film basert på " +#~ "boken, jeg har makt til å nekte deg rett til å frigi den filmen, selv om " +#~ "filmen ikke er \\\"min skrive.\\\"" + +#~ msgid "" +#~ "Scope: Likewise should the scope of derivative rights be narrowed. " +#~ "Again, there are some cases in which derivative rights are important. " +#~ "Those should be specified. But the law should draw clear lines around " +#~ "regulated and unregulated uses of copyrighted material. When all \\\"reuse" +#~ "\\\" of creative material was within the control of businesses, perhaps " +#~ "it made sense to require lawyers to negotiate the lines. It no longer " +#~ "makes sense for lawyers to negotiate the lines. Think about all the " +#~ "creative possibilities that digital technologies enable; now imagine " +#~ "pouring molasses into the machines. That's what this general requirement " +#~ "of permission does to the creative process. Smothers it." +#~ msgstr "" +#~ "område: på samme måte bør omfanget av avledede rettigheter bli " +#~ "innsnevret. igjen, det er noen tilfeller der avledede rettigheter er " +#~ "viktig. de skal angis. men loven skal tegne klare linjer rundt regulert " +#~ "og unregulated bruk av opphavsrettsbeskyttet materiale. Når alle \\" +#~ "\"gjenbruk\\\" av kreative materiale var har kontroll over bedrifter, " +#~ "kanskje gjort det fornuftig å kreve advokater å forhandle linjene. Det er " +#~ "ikke lenger fornuftig for jurister å forhandle linjene. Tenk alle de " +#~ "kreative mulighetene som digital teknologi aktivere; Nå forestille " +#~ "pouring molasses til maskinene. Det er hva denne generelle krav om " +#~ "tillatelse betyr for den kreative prosessen. Smothers det." + +#~ msgid "" +#~ "This point about the future is meant to suggest a perspective on the " +#~ "present: It is emphatically temporary. The \\\"problem\\\" with file " +#~ "sharing--to the extent there is a real problem--is a problem that will " +#~ "increasingly disappear as it becomes easier to connect to the Internet. " +#~ "And thus it is an extraordinary mistake for policy makers today to be \\" +#~ "\"solving\\\" this problem in light of a technology that will be gone " +#~ "tomorrow. The question should not be how to regulate the Internet to " +#~ "eliminate file sharing (the Net will evolve that problem away). The " +#~ "question instead should be how to assure that artists get paid, during " +#~ "this transition between twentieth-century models for doing business and " +#~ "twenty-first-century technologies." +#~ msgstr "" +#~ "dette punktet om fremtiden er ment å foreslå et perspektiv på stede: det " +#~ "er spesielt midlertidig. \\\"problemet\\\" med fildeling--i den grad det " +#~ "er et reelt problem--er et problem som i økende grad vil forsvinne som " +#~ "det blir enklere å koble til Internett. og således det er en " +#~ "ekstraordinære feil for beslutningstakere i dag til å være \\\"løse\\\" " +#~ "dette problemet i lys av en teknologi som vil være borte i morgen. " +#~ "spørsmålet bør ikke hvordan å regulere Internett til å eliminere " +#~ "fildeling (nettet vil utvikle seg det problemet unna). spørsmålet bør i " +#~ "stedet hvor å forsikre at artister får betalt, under denne overgangen " +#~ "mellom 1900-tallet modeller for å gjøre forretnings- og tyve-første-" +#~ "tallet teknologier." + +#~ msgid "" +#~ "The answer begins with recognizing that there are different \\\"problems\\" +#~ "\" here to solve. Let's start with type D content--uncopyrighted content " +#~ "or copyrighted content that the artist wants shared. The \\\"problem\\\" " +#~ "with this content is to make sure that the technology that would enable " +#~ "this kind of sharing is not rendered illegal. You can think of it this " +#~ "way: Pay phones are used to deliver ransom demands, no doubt. But there " +#~ "are many who need to use pay phones who have nothing to do with ransoms. " +#~ "It would be wrong to ban pay phones in order to eliminate kidnapping." +#~ msgstr "" +#~ "svaret begynner med erkjenner at det er ulike \\\"problemer\\\" her å " +#~ "løse. La oss starte med typen d innhold--uncopyrighted innhold eller " +#~ "opphavsrettslig beskyttet innhold som kunstneren ønsker delt. \\" +#~ "\"problemet\\\" med dette innholdet er å sørge for at teknologien som " +#~ "ville gjøre det mulig for denne type deling ikke gjengis ulovlig. Du kan " +#~ "tenke på det på denne måten: betal telefoner brukes til å levere " +#~ "løsepenger krav, ingen tvil. men det er mange som trenger å bruke betale " +#~ "telefoner som har ingenting å gjøre med ransoms. det ville være feil å " +#~ "utestenge betale telefoner for å eliminere kidnapping." + +#~ msgid "" +#~ "Type C content raises a different \\\"problem.\\\" This is content that " +#~ "was, at one time, published and is no longer available. It may be " +#~ "unavailable because the artist is no longer valuable enough for the " +#~ "record label he signed with to carry his work. Or it may be unavailable " +#~ "because the work is forgotten. Either way, the aim of the law should be " +#~ "to facilitate the access to this content, ideally in a way that returns " +#~ "something to the artist." +#~ msgstr "" +#~ "c-innhold av typen reiser et annet \\\"problem.\\\" Dette er innhold som " +#~ "ble, samtidig, publisert og er ikke lenger tilgjengelig. Det kan være " +#~ "utilgjengelig fordi kunstneren er ikke lenger nok kostbar for " +#~ "plateselskap han signert med å bære sitt arbeid. eller det kan være " +#~ "utilgjengelig fordi arbeidet er glemt. Uansett bør sikte på loven å " +#~ "forenkle tilgang til dette innholdet, ideelt på en måte som returnerer " +#~ "noe til kunstneren." + +#~ msgid "" +#~ "Again, the model here is the used book store. Once a book goes out of " +#~ "print, it may still be available in libraries and used book stores. But " +#~ "libraries and used book stores don't pay the copyright owner when someone " +#~ "reads or buys an out-of-print book. That makes total sense, of course, " +#~ "since any other system would be so burdensome as to eliminate the " +#~ "possibility of used book stores' existing. But from the author's " +#~ "perspective, this \\\"sharing\\\" of his content without his being " +#~ "compensated is less than ideal." +#~ msgstr "" +#~ "igjen er modellen her brukt boka store. Når en bok går ut av Skriv ut, " +#~ "det kan fortsatt være tilgjengelig i biblioteker og brukte bokhandlere. " +#~ "men biblioteker og brukte bokhandlere betaler ikke eieren av " +#~ "opphavsretten når noen leser eller kjøper en ut-av-print-bok. Det er " +#~ "totalt fornuftig, selvfølgelig, siden andre systemet ville være så tunge " +#~ "som å eliminere muligheten for brukte boken butikker eksisterende. men " +#~ "fra forfatterens perspektiv, denne \\\"deling\\\" av hans innhold uten " +#~ "hans blir kompensert er mindre enn ideell." + +#~ msgid "" +#~ "The model of used book stores suggests that the law could simply deem out-" +#~ "of-print music fair game. If the publisher does not make copies of the " +#~ "music available for sale, then commercial and noncommercial providers " +#~ "would be free, under this rule, to \\\"share\\\" that content, even " +#~ "though the sharing involved making a copy. The copy here would be " +#~ "incidental to the trade; in a context where commercial publishing has " +#~ "ended, trading music should be as free as trading books." +#~ msgstr "" +#~ "modell for brukte boken butikker tyder på at loven kan bare anser-print " +#~ "musikk rettferdig spill. Hvis utgiveren ikke gjør kopier av musikken " +#~ "tilgjengelig for salg, vil og kommersielle og ikke-kommersiell " +#~ "leverandører være gratis, under denne regelen, å \\\"dele\\\" innholdet, " +#~ "selv om deling involvert gjør en kopi. Kopier hit ville være tilfeldige " +#~ "for handel; i en sammenheng der kommersielle publisering er avsluttet, " +#~ "bør handel musikk være gratis som handel bøker." + +#~ msgid "" +#~ "Fisher would balk at the idea of allowing the system to lapse. His aim is " +#~ "not just to ensure that artists are paid, but also to ensure that the " +#~ "system supports the widest range of \\\"semiotic democracy\\\" possible. " +#~ "But the aims of semiotic democracy would be satisfied if the other " +#~ "changes I described were accomplished--in particular, the limits on " +#~ "derivative uses. A system that simply charges for access would not " +#~ "greatly burden semiotic democracy if there were few limitations on what " +#~ "one was allowed to do with the content itself." +#~ msgstr "" +#~ "Fisher vil balk på ideen om å la systemet synker. hans mål er ikke bare " +#~ "for å sikre at kunstnere er betalt, men også å sikre at systemet støtter " +#~ "en rekke ulike \\\"semiotic demokrati\\\" mulig. men målene for semiotic " +#~ "demokrati ville være fornøyd hvis endringene jeg beskrevet ble oppnådd--" +#~ "spesielt begrensninger på derivat bruker. et system som belaster bare for " +#~ "tilgang ville ikke sterkt belaster semiotic demokrati Hvis det var noen " +#~ "begrensninger på hva en var tillatt å gjøre med selve innholdet." + +#~ msgid "" +#~ "No doubt it would be difficult to calculate the proper measure of \\\"harm" +#~ "\\\" to an industry. But the difficulty of making that calculation would " +#~ "be outweighed by the benefit of facilitating innovation. This background " +#~ "system to compensate would also not need to interfere with innovative " +#~ "proposals such as Apple's MusicStore. As experts predicted when Apple " +#~ "launched the MusicStore, it could beat \\\"free\\\" by being easier than " +#~ "free is. This has proven correct: Apple has sold millions of songs at " +#~ "even the very high price of 99 cents a song. (At 99 cents, the cost is " +#~ "the equivalent of a per-song CD price, though the labels have none of the " +#~ "costs of a CD to pay.) Apple's move was countered by Real Networks, " +#~ "offering music at just 79 cents a song. And no doubt there will be a " +#~ "great deal of competition to offer and sell music on-line." +#~ msgstr "" +#~ "ingen tvil om ville det være vanskelig å beregne riktig mål for \\\"skade" +#~ "\\\" til en industri. men vanskeligheten av å gjøre multiplikasjonene " +#~ "ville være oppveies av fordel for tilrettelegging innovasjon. Dette " +#~ "bakgrunn-systemet for å kompensere ville ikke må også forstyrre " +#~ "nyskapende forslag for eksempel Apples musicstore. som eksperter spådd " +#~ "når apple lanserte musicstore, vil det kunne slå \\\"gratis\\\" ved å " +#~ "være enklere enn er gratis. Dette har vist riktig: apple har solgt flere " +#~ "millioner sanger på selv svært høy pris på 99 cents en sang. (på 99 " +#~ "cents, kostnaden tilsvarer en per sang cd pris, men etikettene har ingen " +#~ "av kostnadene for en cd for å betale.) Apple nå går ble motvirket av real " +#~ "networks, tilbyr musikk på bare 79 cents en sang. og ingen tvil om det " +#~ "vil være mye konkurranse å tilby og selge musikk på nettet." + +#~ msgid "" +#~ "This competition has already occurred against the background of \\\"free\\" +#~ "\" music from p2p systems. As the sellers of cable television have known " +#~ "for thirty years, and the sellers of bottled water for much more than " +#~ "that, there is nothing impossible at all about \\\"competing with free.\\" +#~ "\" Indeed, if anything, the competition spurs the competitors to offer " +#~ "new and better products. This is precisely what the competitive market " +#~ "was to be about. Thus in Singapore, though piracy is rampant, movie " +#~ "theaters are often luxurious--with \\\"first class\\\" seats, and meals " +#~ "served while you watch a movie--as they struggle and succeed in finding " +#~ "ways to compete with \\\"free.\\\"" +#~ msgstr "" +#~ "Denne konkurransen har allerede skjedd på bakgrunn av \\\"gratis\\\" " +#~ "musikk fra p2p-systemer. som selgere av kabel-TV har kjent for tretti år " +#~ "og selgere av flaskevann for mye mer enn det, det er ingenting umulig " +#~ "overhodet om \\\"konkurrerer med gratis.\\\" faktisk, om noe, inspirerer " +#~ "konkurransen konkurrenter å tilby nye og bedre produkter. Dette er " +#~ "nettopp hva konkurransedyktige markedet var å være om. dermed i singapore " +#~ "er selv om piratkopiering er frodig, kinoer ofte luksuriøse--med \\" +#~ "\"første klasse\\\" seter og måltider servert mens du ser en film--er de " +#~ "kampen og lykkes i å finne måter å konkurrere med \\\"gratis\\\"." + +#~ msgid "" +#~ "But what if \\\"piracy\\\" doesn't disappear? What if there is a " +#~ "competitive market providing content at a low cost, but a significant " +#~ "number of consumers continue to \\\"take\\\" content for nothing? Should " +#~ "the law do something then?" +#~ msgstr "" +#~ "men hva om \\\"piratkopiering\\\" ikke forsvinne? Hva hvis det er et " +#~ "konkurranseutsatt marked å gi innhold på en lav pris, men et betydelig " +#~ "antall forbrukere fortsette å \\\"ta\\\" innhold for ingenting? loven " +#~ "gjør noe deretter?" + +#~ msgid "" +#~ "The law should regulate in certain areas of culture--but it should " +#~ "regulate culture only where that regulation does good. Yet lawyers rarely " +#~ "test their power, or the power they promote, against this simple " +#~ "pragmatic question: \\\"Will it do good?\\\" When challenged about the " +#~ "expanding reach of the law, the lawyer answers, \\\"Why not?\\\"" +#~ msgstr "" +#~ "loven skal regulere i visse områder av kultur-- men det skal regulere " +#~ "kultur bare der den reguleringen gjør bra. men advokater sjelden teste " +#~ "deres makt, eller kraften som de fremme, mot dette enkle pragmatisk " +#~ "spørsmålet: \\\"vil det gjøre gode?\\\" når utfordret om det utvider nå " +#~ "av loven, advokat-svar, \\\"Hvorfor ikke?\\\"" + +#~ msgid "" +#~ "We should ask, \\\"Why?\\\" Show me why your regulation of culture is " +#~ "needed. Show me how it does good. And until you can show me both, keep " +#~ "your lawyers away." +#~ msgstr "" +#~ "Vi bør spørre: \\\"Hvorfor?\\\" Vis meg hvorfor din regulering av kultur " +#~ "er nødvendig. Vis meg hvordan det fungerer bra. og før du kan vise meg " +#~ "begge, hold advokatene dine unna." + +#~ msgid "" +#~ "These are the traditional sorts of help that academics regularly draw " +#~ "upon. But in addition to them, the Internet has made it possible to " +#~ "receive advice and correction from many whom I have never even met. Among " +#~ "those who have responded with extremely helpful advice to requests on my " +#~ "blog about the book are Dr. Mohammad Al-Ubaydli, David Gerstein, and " +#~ "Peter DiMauro, as well as a long list of those who had specific ideas " +#~ "about ways to develop my argument. They included Richard Bondi, Steven " +#~ "Cherry, David Coe, Nik Cubrilovic, Bob Devine, Charles Eicher, Thomas " +#~ "Guida, Elihu M. Gerson, Jeremy Hunsinger, Vaughn Iverson, John Karabaic, " +#~ "Jeff Keltner, James Lindenschmidt, K. L. Mann, Mark Manning, Nora " +#~ "McCauley, Jeffrey McHugh, Evan McMullen, Fred Norton, John Pormann, Pedro " +#~ "A. D. Rezende, Shabbir Safdar, Saul Schleimer, Clay Shirky, Adam " +#~ "Shostack, Kragen Sitaker, Chris Smith, Bruce Steinberg, Andrzej Jan " +#~ "Taramina, Sean Walsh, Matt Wasserman, Miljenko Williams, \\\"Wink,\\\" " +#~ "Roger Wood, \\\"Ximmbo da Jazz,\\\" and Richard Yanco. (I apologize if I " +#~ "have missed anyone; with computers come glitches, and a crash of my e-" +#~ "mail system meant I lost a bunch of great replies.)" +#~ msgstr "" +#~ "Dette er de tradisjonelle former for hjelp som akademikere regelmessig " +#~ "trekke på. men i tillegg til dem, Internett har gjort det mulig å motta " +#~ "råd og korrigering fra mange hvem jeg har aldri møtt. blant de som har " +#~ "svart med svært nyttig råd til forespørsler på bloggen min om boken er " +#~ "dr. Muhammed al-ubaydli, david gerstein og peter dimauro, samt en lang " +#~ "liste med de som hadde spesifikke ideer om måter å utvikle mitt argument. " +#~ "de inkludert richard bondi, steven cherry, david coe, nik cubrilovic, bob " +#~ "devine, charles eicher, thomas fjord, elihu m gerson, jeremy hunsinger, " +#~ "vaughn iverson, john karabaic, jeff-keltner, james lindenschmidt, k. l. " +#~ "mann, merke bemanning, nora mccauley, jeffrey mchugh, evan mcmullen, fred " +#~ "norton, john pormann, pedro a. d. rezende, shabbir safdar, saul " +#~ "schleimer, clay shirky, adam shostack, kragen sitaker, chris smith, bruce " +#~ "steinberg, andrzej jan taramina, sean walsh, matt wasserman, miljenko " +#~ "williams, \\\"kyss,\\\" roger tre, \\\"ximmbo da jazz\\\", og richard " +#~ "yanco. (jeg beklager hvis jeg har savnet noen, med datamaskiner kommer " +#~ "glitches og krasj av min e-postsystemet mente jeg mistet en haug med stor " +#~ "svar.)"