[text-madewithcc.git] / po / nb / mwcc.po

# MADE WITH CREATIVE COMMONS
# Copyright (C) 2017 by Creative Commons.
# This file is published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0
# Authors: Paul Stacey and Sarah Hinchliff Pearson
#
msgid ""
msgstr ""
"Project-Id-Version: Made with Creative Commons\n"
"POT-Creation-Date: 2019-01-30 17:39-0600\n"
"PO-Revision-Date: 2019-01-28 22:09+0000\n"
"Last-Translator: Petter Reinholdtsen <pere-weblate@hungry.com>\n"
"Language-Team: Norwegian Bokmål <https://hosted.weblate.org/projects/"
"madewithcc/translation/nb_NO/>\n"
"Language: nb\n"
"MIME-Version: 1.0\n"
"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
"Plural-Forms: nplurals=2; plural=n != 1;\n"
"X-Generator: Weblate 3.5-dev\n"

#. type: Attribute 'lang' of: <book>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3
msgid "en"
msgstr "nb"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5
#: MadewithCreativeCommonsmostup-to-dateversion.xml:41
#, fuzzy
msgid "Made with Creative Commons"
msgstr "Som bruker Creative Commons"

#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8
msgid "Paul"
msgstr "Paul"

#. type: Content of: <book><bookinfo><authorgroup><author><surname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9
msgid "Stacey"
msgstr "Stacey"

#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:12
msgid "Sarah Hinchliff"
msgstr "Sarah Hinchliff"

#. type: Content of: <book><bookinfo><authorgroup><author><surname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:13
msgid "Pearson"
msgstr "Pearson"

#. type: Content of: <book><bookinfo><copyright>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:17
#, fuzzy
msgid "<year>2017</year> <holder>Creative Commons</holder>"
msgstr "<year>2017</year> <holder>Creative Commons</holder>"

#. type: Content of: <book><bookinfo><publisher>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:21
msgid "<publishername>Gunnar Wolf</publishername>"
msgstr "<publishername>Petter Reinholdtsen</publishername>"

#. type: Content of: <book><bookinfo><publisher><address><city>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:23
msgid "Mexico City"
msgstr "Oslo"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:28
#: MadewithCreativeCommonsmostup-to-dateversion.xml:56
msgid ""
"This book is published under a CC BY-SA license, which means that you can "
"copy, redistribute, remix, transform, and build upon the content for any "
"purpose, even commercially, as long as you give appropriate credit, provide "
"a link to the license, and indicate if changes were made. If you remix, "
"transform, or build upon the material, you must distribute your "
"contributions under the same license as the original. License details: "
"<ulink url=\"http://creativecommons.org/licenses/by-sa/4.0/\"/>"
msgstr ""
"Denne boken er CC BY-SA-lisensiert, noe som betyr at du fritt kan kopiere, "
"distribuere videre, remikse, transformere og bygge videre på innholdet for "
"ethvert formål, selv kommersielt, så lenge du gir riktig kreditering, gir en "
"lenke til lisensen og angir om endringer er gjort. Hvis du remikser, "
"transformerer eller bygger videre, må dine bidrag følgelig distribueres med "
"samme lisens som den opprinnelige. Lisensdetaljer er å finne på: <ulink url="
"\"https://creativecommons.org/licenses/by-sa/4.0/\"/>"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:42
msgid "by Paul Stacey &amp; Sarah Hinchliff Pearson"
msgstr "av Paul Stacey og Sarah Hinchliff Pearson"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:43
msgid "© 2017 by the Creative Commons Foundation."
msgstr "© 2017, Creative Commons-stiftelsen."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:44
msgid ""
"Published under a Creative Commons Attribution-ShareAlike license (CC BY-"
"SA), version 4.0."
msgstr ""
"Publisert med Creative Commons Attribution-ShareAlike-lisens (CC BY-SA), "
"versjon 4.0."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:46
#, fuzzy
msgid ""
"ISBN: YET-TO-BE-DECIDED (PDF), YET-TO-BE-DECIDED (ePub), YET-TO-BE-DECIDED "
"(Paperback)"
msgstr ""
"ISBN: 978-82-TO-BE-DECIDED (PDF), 978-82-TO-BE-DECIDED (ePub), 978-82-TO-BE-"
"DECIDED (myk perm)"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:48
msgid ""
"Illustrations by Bryan Mathers, <ulink url=\"https://bryanmmathers.com/\"/>."
msgstr ""
"Illustrasjoner av Bryan Mathers, <ulink url=\"https://bryanmmathers.com/\"/>."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:50
msgid "Publisher: Gunnar Wolf."
msgstr "Utgiver: Petter Reinholdtsen."

#. space for information about translators
#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:52
msgid " "
msgstr ""
" Oversatt til bokmål av Ole-Erik Yrvin, Ingrid Yrvin, Allan Nordhøy, Thomas "
"Gramstad og Petter Reinholdtsen. "

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:54
msgid "Downloadable e-book available at <ulink url=\"https://madewith.cc/\"/>."
msgstr ""
"Nedlastbar e-bok tilgjengelig fra <ulink url=\"https://madewith.cc/\"/>."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:63
msgid ""
"Made With Creative Commons is published with the kind support of Creative "
"Commons and backers of our crowdfunding-campaign on the Kickstarter.com "
"platform."
msgstr ""
"Denne boken er gitt ut med vennlig støtte fra Creative Commons-stiftelsen og "
"kronerullerne i vår folkefinansieringskampanje på Kickstarter.com-"
"plattformen."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:66
msgid ""
"This edition of the book is maintained on <ulink url=\"https://gitlab.com/"
"gunnarwolf/madewithcc-es/\"/>, and the translations are maintained on <ulink "
"url=\"https://hosted.weblate.org/projects/madewithcc/\"/>.  If you find any "
"error in the book, please let us know via Gitlab or Weblate."
msgstr ""
"Denne utgaven av boken holdes ved like på <ulink url=\"https://gitlab.com/"
"gunnarwolf/madewithcc-es/\"/>, og oversettelsene vedlikeholdes på <ulink url="
"\"https://hosted.weblate.org/projects/madewithcc/\"/>.  Hvis du finner noen "
"feil i boken, setter vi stor pris på innrapportering via GitLa eller Weblate."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:72
msgid "Classifications:"
msgstr "Klassifiseringer:"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:75
msgid "(Dewey) 346.048, 347.78"
msgstr "(Dewey) 346.048, 347.78"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:78
#, fuzzy
msgid "(UDK) ?"
msgstr "(UDK) ?"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:81
msgid "(US Library of Congress) Z286 O63 S73 2017"
msgstr "(Nasjonalbiblioteket i USA, Library of Congress) Z286 O63 S73 2017"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:84
msgid "(Melvil) 025.523"
msgstr "(Melvil) 025.523"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:87
#, fuzzy
msgid "(ACM CRCS) ?"
msgstr "(ACM CRCS) ?"

#. type: Content of: <book><dedication><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:93
#, fuzzy
#| msgid ""
#| "<quote>I don’t know a whole lot about nonfiction journalism. . .  The way "
#| "that I think about these things, and in terms of what I can do is. . . "
#| "essays like this are occasions to watch somebody reasonably bright but "
#| "also reasonably average pay far closer attention and think at far more "
#| "length about all sorts of different stuff than most of us have a chance "
#| "to in our daily lives.</quote>"
msgid ""
"<quote>I don’t know a whole lot about nonfiction journalism. . . The way "
"that I think about these things, and in terms of what I can do is. . . "
"essays like this are occasions to watch somebody reasonably bright but also "
"reasonably average pay far closer attention and think at far more length "
"about all sorts of different stuff than most of us have a chance to in our "
"daily lives.</quote>"
msgstr ""
"<quote>Jeg vet ikke mye om hvordan skrive faglitteratur. Slik jeg forholder "
"meg til ting jeg vil gjøre noe med fører til essayer som dette, et innspill "
"der rimelig smarte mennesker får anledning til å følge bedre med og grave "
"dypere i de mange ulike temaer som omgir oss, og bli kjent med langt fler "
"emner enn de fleste av oss har sjansen til i våre daglige liv. </quote>"

#. type: Content of: <book><dedication><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:102
msgid "— <emphasis>David Foster Wallace</emphasis>"
msgstr "— <emphasis>David Foster Wallace</emphasis>"

#. type: Content of: <book><preface><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:107
msgid "Foreword"
msgstr "Forord"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:109
msgid ""
"Three years ago, just after I was hired as CEO of Creative Commons, I met "
"with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of "
"CC’s most well-known proponents—one who has also had a successful career as "
"a writer who shares his work using CC—I told him I thought CC had a role in "
"defining and advancing open business models. He kindly disagreed, and called "
"the pursuit of viable business models through CC <quote>a red herring.</"
"quote>"
msgstr ""
"For tre år siden, like etter at jeg ble ansatt som daglig leder av Creative "
"Commons, møtte jeg Cory Doctorow i en hotellbar på Gladstone hotell i "
"Toronto. Ettersom han er en av de mest velkjente forkjempere for CC og "
"suksessrik skribent viss verk er delt på CC snakket jeg om hvordan CC kan "
"definere og fremme åpne forretningsmodeller. I hyggelige ordelag var han "
"uenig med meg, og sa jakten på levedyktige forretningsmodeller i CC var et "
"blindspor."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:118
msgid ""
"He was, in a way, completely correct—those who make things with Creative "
"Commons have ulterior motives, as Paul Stacey explains in this book: "
"<quote>Regardless of legal status, they all have a social mission. Their "
"primary reason for being is to make the world a better place, not to profit. "
"Money is a means to a social end, not the end itself.</quote>"
msgstr ""
"Han hadde på mange måter rett for de som vil endre på ting ved å bruke "
"Creative Commons har underliggende motiver, som Paul Stacey forklarer i "
"denne boken: <quote>Uavhengig deres juridiske status har bidragsytere et "
"sosialt siktemål. Deres primære grunn til å bidra er å gjøre verden til et "
"bedre sted, ikke jakte på profitt. Penger er et middel til å nå sosiale mål, "
"ikke målet i seg selv.</quote>"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:126
msgid ""
"In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s "
"words from his book Information Doesn’t Want to Be Free: <quote>Entering the "
"arts because you want to get rich is like buying lottery tickets because you "
"want to get rich. It might work, but it almost certainly won’t. Though, of "
"course, someone always wins the lottery.</quote>"
msgstr ""
"I tilfellet Cory Doctorow siterer Sarah Hinchliff Pearson hans egne ord fra "
"boken <quote>Information Doesn’t Want to Be Free</quote>: <quote>Å hengi seg "
"til kunsten fordi du vil bli rik, er som å kjøpe lottokuponger fordi du vil "
"bli rik. Det kan fungere, og ganske sikkert ikke. Men selvsagt, det er "
"alltid noen som vinner i lotteriet.</quote>"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:134
msgid ""
"Today, copyright is like a lottery ticket—everyone has one, and almost "
"nobody wins. What they don’t tell you is that if you choose to share your "
"work, the returns can be significant and long-lasting.  This book is filled "
"with stories of those who take much greater risks than the two dollars we "
"pay for a lottery ticket, and instead reap the rewards that come from "
"pursuing their passions and living their values."
msgstr ""
"I dag er opphavsretten, allmenningens tragedie, et trukket lodd i et lotteri "
"- alle spiller mot hverandre, i vissheten om at nesten ingen vinner. Derimot "
"ildens sindighet, den de ikke evner å slukke i oss, vekkes til evig liv i "
"delingen av vårt arbeide. Denne bokens historier er viet dem som løper "
"større risiko enn de kronene vi betaler eller får igjen for et lodd. De "
"legger med rette til kai for belønningens leider, i det å følge sin "
"lidenskap og bygge sine verdier."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:143
msgid ""
"So it’s not about the money. Also: it is. Finding the means to continue to "
"create and share often requires some amount of income.  Max Temkin of Cards "
"Against Humanity says it best in their case study: <quote>We don’t make "
"jokes and games to make money—we make money so we can make more jokes and "
"games.</quote>"
msgstr ""
"Det hander følgelig ikke om penger. Skape og finne måter å fortsette på "
"krever ofte en viss inntekt. Max Temkin i Cards Against Humanity sier det "
"best: <quote>Vi lager ikke vitser og leker for å tjene penger - vi tjener "
"penger slik at vi kan lage flere vitser og leke.</quote>"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:150
msgid ""
"Creative Commons’ focus is on building a vibrant, usable commons, powered by "
"collaboration and gratitude. Enabling communities of collaboration is at the "
"heart of our strategy. With that in mind, Creative Commons began this book "
"project. Led by Paul and Sarah, the project set out to define and advance "
"the best open business models.  Paul and Sarah were the ideal authors to "
"write Made with Creative Commons."
msgstr ""
"Creative Commons fokuserer på å bygge levende, nyttige allmenninger, med "
"samarbeid og takknemlighet som drivkraft. Å få på plass samarbeidsfelleskap "
"er kjernen i vår strategi. Med dette i mente startet Creative Commons dette "
"bokprosjektet. Med Paul og Sarah i ledelsen, gikk prosjektet i gang med å "
"definere og fremme de beste åpne forretningsmodellene. Paul og Sarah var "
"hovedforfatterne til denne boka."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:159
msgid ""
"Paul dreams of a future where new models of creativity and innovation "
"overpower the inequality and scarcity that today define the worst parts of "
"capitalism. He is driven by the power of human connections between "
"communities of creators. He takes a longer view than most, and it’s made him "
"a better educator, an insightful researcher, and also a skilled gardener. He "
"has a calm, cool voice that conveys a passion that inspires his colleagues "
"and community."
msgstr ""
"Paul drømmer om en fremtid der nye modeller for kreativitet og innovasjon "
"overgår den ulikhet og knapphet som i dag viser de verste delene av "
"kapitalismen. Han drives av kraften i mellommenneskelige forbindelser i "
"skapende samarbeidsfellesskap. Han er mer fremsynt enn de fleste, og det har "
"gjort ham til en bedre pedagog, en innsiktsfull forsker, og også en dyktig "
"gartner. Han har en rolig, kjølig stemme som formidler en lidenskap som "
"inspirerer kolleger og samfunn."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:168
msgid ""
"Sarah is the best kind of lawyer—a true advocate who believes in the good of "
"people, and the power of collective acts to change the world. Over the past "
"year I’ve seen Sarah struggle with the heartbreak that comes from investing "
"so much into a political campaign that didn’t end as she’d hoped. Today, "
"she’s more determined than ever to live with her values right out on her "
"sleeve. I can always count on Sarah to push Creative Commons to focus on our "
"impact—to make the main thing the main thing. She’s practical, detail-"
"oriented, and clever. There’s no one on my team that I enjoy debating more."
msgstr ""
"Sarah er den beste typen advokat - en sann forkjemper som tror på det gode i "
"mennesker, og på kraften i kollektive handlinger for å forandre verden. I "
"løpet av det siste året har jeg sett Sarah kjempe med den hjertesorg som "
"kommer fra å ha investert så mye i en politisk kampanje som ikke sluttet som "
"hun hadde håpet. I dag er hun mer bestemt enn noen gang på å leve med sine "
"verdier rett fra hjertet. Jeg kan alltid stole på at Sarah er en pådriver "
"for at Creative Commons skal påvirke  - gjøre det viktigste viktigst. Hun er "
"praktisk, detaljorientert og dyktig. Det er ingen på laget mitt jeg liker så "
"godt å debattere med."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:180
msgid ""
"As coauthors, Paul and Sarah complement each other perfectly. They "
"researched, analyzed, argued, and worked as a team, sometimes together and "
"sometimes independently. They dove into the research and writing with "
"passion and curiosity, and a deep respect for what goes into building the "
"commons and sharing with the world. They remained open to new ideas, "
"including the possibility that their initial theories would need refinement "
"or might be completely wrong.  That’s courageous, and it has made for a "
"better book that is insightful, honest, and useful."
msgstr ""
"Som samforfattere utfylte Paul og Sarah hverandre perfekt. De forsket, "
"analyserte, argumenterte og jobbet som et lag, noen ganger sammen og noen "
"ganger hver for seg. De gravde seg ned i forskningen og skrivingen med "
"lidenskap og nysgjerrighet, og med dyp respekt for hva som inngår i å lage "
"allmenninger og å dele med verden. De var åpne for nye ideer, medregnet "
"muligheten for at utgangsteoriene deres måtte foredles videre eller kanskje "
"var helt feil. Det er modig, og det har gitt en bedre bok som er "
"innsiktsfull, ærlig og nyttig."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:191
msgid ""
"From the beginning, CC wanted to develop this project with the principles "
"and values of open collaboration. The book was funded, developed, "
"researched, and written in the open. It is being shared openly under a CC BY-"
"SA license for anyone to use, remix, or adapt with attribution. It is, in "
"itself, an example of an open business model."
msgstr ""
"Fra begynnelsen av ønsket CC å utvikle dette prosjektet med prinsipper og "
"verdier fra åpent samarbeid. Boken ble finansiert, utviklet, foredlet og "
"skrevet i åpenhet. Den blir delt åpent med CC BY-SA-lisens, slik at alle kan "
"bruke, remikse eller tilpasse, med kreditering. Dette er i seg selv et "
"eksempel på en åpen forretningsmodell."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:199
msgid ""
"For 31 days in August of 2015, Sarah took point to organize and execute a "
"Kickstarter campaign to generate the core funding for the book. The "
"remainder was provided by CC’s generous donors and supporters. In the end, "
"it became one of the most successful book projects on Kickstarter, smashing "
"through two stretch goals and engaging over 1,600 donors—the majority of "
"them new supporters of Creative Commons."
msgstr ""
"I løpet av 31 dager i august 2015 organiserte Sarah en Kickstarter-kampanje "
"for å  finansiere grunnfondet for boken. Resten ble finansiert av Creative "
"Commons sine generøse givere og støttespillere. Til slutt ble den et av de "
"mest vellykkede bokprosjektene på Kickstarter, med 1600 engasjerte givere, "
"gjennom to delmål, helt frem. De fleste giverne var nye tilhengere av "
"Creative Commons."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:208
msgid ""
"Paul and Sarah worked openly throughout the project, publishing the plans, "
"drafts, case studies, and analysis, early and often, and they engaged "
"communities all over the world to help write this book. As their opinions "
"diverged and their interests came into focus, they divided their voices and "
"decided to keep them separate in the final product. Working in this way "
"requires both humility and self-confidence, and without question it has made "
"Made with Creative Commons a better project."
msgstr ""
"Paul og Sarah jobbet åpent gjennom hele prosjektet, publiserte planer, "
"utkast, saksstudier og analyser, tidlig og ofte, og de engasjerte miljøer "
"over hele verden til å bidra til å skrive denne boken. Etterhvert "
"som meningsforskjeller gjorde seg gjeldende og deres individuelle interesser "
"kom i fokus, delte de seg opp med hver sin individuelle stemme, og besluttet "
"å holde sine stemmer atskilt i sluttproduktet. Å arbeide på denne måten "
"krever både ydmykhet og selvtillit, og det har uten tvil gjort "
"<quote>Creative Commons-lisensiert</quote> til et bedre prosjekt."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:218
msgid ""
"Those who work and share in the commons are not typical creators.  They are "
"part of something greater than themselves, and what they offer us all is a "
"profound gift. What they receive in return is gratitude and a community."
msgstr ""
"De som jobber og deler i allmenningen (commons) er ikke typiske skapere. De "
"er del av noe større enn seg selv, de gagner oss alle en dyptgående gave. "
"Deres levne står i takknmelighets fellesskap."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:224
msgid ""
"Jonathan Mann, who is profiled in this book, writes a song a day.  When I "
"reached out to ask him to write a song for our Kickstarter (and to offer "
"himself up as a Kickstarter benefit), he agreed immediately. Why would he "
"agree to do that? Because the commons has collaboration at its core, and "
"community as a key value, and because the CC licenses have helped so many to "
"share in the ways that they choose with a global audience."
msgstr ""
"Jonathan Mann, som er løftet frem i denne boken, skriver én dag en sang. Da "
"jeg kontaktet han for å be om å skrive en sang til "
"folkefinansieringskampanjen (og tilby seg selv som en kronerullingspost "
"deri), stilte han umiddelbart opp. Hvorfor? -Fordi allmenningen kjerne er "
"samarbeid, og gemenskap dens nøkkelverdi, og fordi CC-lisensene har hjulpet "
"så mange å dele med et verdensomspennende publikum på egne premisser."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:233
msgid ""
"Sarah writes, <quote>Endeavors that are Made with Creative Commons thrive "
"when community is built around what they do. This may mean a community "
"collaborating together to create something new, or it may simply be a "
"collection of like-minded people who get to know each other and rally around "
"common interests or beliefs. To a certain extent, simply being Made with "
"Creative Commons automatically brings with it some element of community, by "
"helping connect you to like-minded others who recognize and are drawn to the "
"values symbolized by using CC.</quote> Amanda Palmer, the other musician "
"profiled in the book, would surely add this from her case study: "
"<quote>There is no more satisfying end goal than having someone tell you "
"that what you do is genuinely of value to them.</quote>"
msgstr ""
"Sarah skriver, <quote>Innsats laget med Made with Creative Commons blomstrer "
"opp når fellesskap bygges opp rundt det de gjør.  Dette kan innebære et "
"fellesskap som samarbeider om å lage noe nytt, eller det kan ganske enkelt "
"være en samling likesinnede som blir kjent med hverandre og samles om en "
"felles interesse eller tro.  Til en hvis grad gir det å bruke Creative "
"Commons automatisk et visst element av fellesskap, ved å bidra til å treffe "
"likesinnede som gjenkjenner og trekkes mot verdiene som bruken av CC "
"symboliserer.</quote>  Den andre musikeren som profileres i boken, Amanda "
"Palmer, ville sikkert lagt til dette fra sin studie: <quote>Det finnes ikke "
"noe mer tilfredsstillende mål en å oppleve at noen forteller deg at det du "
"gjør virkelig er verdifullt for dem.</quote>"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:247
msgid ""
"This is not a typical business book. For those looking for a recipe or a "
"roadmap, you might be disappointed. But for those looking to pursue a social "
"end, to build something great through collaboration, or to join a powerful "
"and growing global community, they’re sure to be satisfied. Made with "
"Creative Commons offers a world-changing set of clearly articulated values "
"and principles, some essential tools for exploring your own business "
"opportunities, and two dozen doses of pure inspiration."
msgstr ""
"Som typisk bedriftsøkonomibok er dette for dem på leting etter "
"oppskriftsmessigheter eller kjøreplan, en forestående skuffelse. Snarere i "
"ønsket om å bidra til et sosiale mål, bygge noe stort gjennom samarbeid, "
"eller bli med i et kraftig og voksende verdenssamfunn, er fornøyelsen vel "
"unt. Laget med Creative Commons tilbyr et verdensendrende sett tydelig "
"artikulerte verdier og prinsipper, noen viktige verktøy til utforskning av "
"egne forretningsmuligheter, og to dusin doser ren inspirasjon."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:257
#, fuzzy
#| msgid ""
#| "In a 1996 Stanford Law Review article “The Zones of Cyberspace”, CC "
#| "founder Lawrence Lessig wrote, “Cyberspace is a place. People live there. "
#| "They experience all the sorts of things that they experience in real "
#| "space, there. For some, they experience more. They experience this not as "
#| "isolated individuals, playing some high tech computer game; they "
#| "experience it in groups, in communities, among strangers, among people "
#| "they come to know, and sometimes like.”"
msgid ""
"In a 1996 Stanford Law Review article <quote>The Zones of Cyberspace</"
"quote>, CC founder Lawrence Lessig wrote, <quote>Cyberspace is a place. "
"People live there. They experience all the sorts of things that they "
"experience in real space, there. For some, they experience more. They "
"experience this not as isolated individuals, playing some high tech computer "
"game; they experience it in groups, in communities, among strangers, among "
"people they come to know, and sometimes like.</quote>"
msgstr ""
"I en artikkel i Stanford Law Review i 1996, <quote>The Zones of Cyberspace</"
"quote>, skrev CC-grunnleggeren Lawrence Lessig: <quote>Kyberrommet er et "
"sted. Folk bor der. De opplever alle mulige ting som de også opplever i "
"reelle rom, i Kyberrommet. Og noen opplever enda mer. De opplever ikke dette "
"som isolerte individer, som spillere av et høyteknologisk dataspill; De "
"opplever det i grupper, i fellesskap, blant fremmede, blant mennesker de "
"lærer å kjenne og noen ganger like.</quote>"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:267
#, fuzzy
#| msgid ""
#| "I’m incredibly proud that Creative Commons is able to publish this book "
#| "for the many communities that we have come to know and like.  I’m "
#| "grateful to Paul and Sarah for their creativity and insights, and to the "
#| "global communities that have helped us bring it to you.  As CC board "
#| "member Johnathan Nightingale often says, “It’s all made of people.”"
msgid ""
"I’m incredibly proud that Creative Commons is able to publish this book for "
"the many communities that we have come to know and like.  I’m grateful to "
"Paul and Sarah for their creativity and insights, and to the global "
"communities that have helped us bring it to you.  As CC board member "
"Johnathan Nightingale often says, <quote>It’s all made of people.</quote>"
msgstr ""
"Jeg er utrolig stolt av at Creative Commons klarer å utgi denne boken for de "
"mange fellesskapene som vi har lært å kjenne og like. Jeg er takknemlig "
"overfor Paul og Sarah for deres kreativitet og innsikt, og overfor de "
"globale fellesskapene som har hjulpet oss med å bringe den til deg. Som CC-"
"styremedlem Johnathan Nightingale ofte sier: <quote>Alt er laget av "
"mennesker.</quote>"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:275
msgid "That’s the true value of things that are Made with Creative Commons."
msgstr "Dette er den sanne verdien av ting som er laget med Creative Commons."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:278
msgid "<emphasis>Ryan Merkley</emphasis>"
msgstr "<emphasis>Ryan Merkley</emphasis>"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:281
msgid "<emphasis>CEO, Creative Commons</emphasis>"
msgstr "<emphasis>Daglig leder, Creative Commons</emphasis>"

#. type: Content of: <book><preface><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:285
msgid "Introduction"
msgstr "Introduksjon"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:287
msgid ""
"This book shows the world how sharing can be good for business—but with a "
"twist."
msgstr ""
"Denne boken viser verden hvor godt deling kan tjene i forretningsøyemed, med "
"en ny vri."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:291
msgid ""
"We began the project intending to explore how creators, organizations, and "
"businesses make money to sustain what they do when they share their work "
"using Creative Commons licenses. Our goal was not to identify a formula for "
"business models that use Creative Commons but instead gather fresh ideas and "
"dynamic examples that spark new, innovative models and help others follow "
"suit by building on what already works. At the onset, we framed our "
"investigation in familiar business terms. We created a blank <quote>open "
"business model canvas,</quote> an interactive online tool that would help "
"people design and analyze their business model."
msgstr ""
"Vi startet prosjektet for å utforske hvordan skapere, organisasjoner og "
"firmaer tjener penger på det de gjør når de deler arbeidet sitt med Creative "
"Commons-lisenser. Målet var ikke å identifisere en formel for "
"forretningsmodeller som gjør bruk av Creative Commons, men i stedet å samle "
"friske ideer og dynamiske eksempler som inspirerer nye, innovative modeller "
"og som hjelper andre å bygge videre på det som allerede fungerer. I "
"begynnelsen formulerte vi våre undersøkelser med kjente forretningsbegreper. "
"Vi laget et <quote>åpent forretningsmodell-lerret</quote>, et interaktivt og "
"nettbasert verktøy, for å hjelpe folk med å utforme og analysere sine "
"forretningsmodeller."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:303
msgid ""
"Through the generous funding of Kickstarter backers, we set about this "
"project first by identifying and selecting a diverse group of creators, "
"organizations, and businesses who use Creative Commons in an integral way—"
"what we call being Made with Creative Commons. We interviewed them and wrote "
"up their stories. We analyzed what we heard and dug deep into the literature."
msgstr ""
"Med raus finansiering fra folkefinansens lommer, gikk vi løs på dette "
"prosjektet, først ved å identifisere og velge ut en gruppe skapere fra det "
"brede lag av organisasjoner og bedrifter som gjør bruk av Creative Commons "
"på en helstøpt måte - det vi kaller <quote>Gjort på Creative Commons-måten</"
"quote>. I intervju fikk vi skrevet ned historiene deres, analyserte det vi "
"fikk hørte, og gjorde til sist dypdykk i litteraturen."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:311
msgid ""
"But as we did our research, something interesting happened. Our initial way "
"of framing the work did not match the stories we were hearing."
msgstr ""
"Mens vi gjorde våre undersøkelser, skjedde det noe interessant. Vår "
"forståelsesramme for arbeidet passet ikke med historiene vi hørte."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:316
msgid ""
"Those we interviewed were not typical businesses selling to consumers and "
"seeking to maximize profits and the bottom line.  Instead, they were sharing "
"to make the world a better place, creating relationships and community "
"around the works being shared, and generating revenue not for unlimited "
"growth but to sustain the operation."
msgstr ""
"De vi intervjuet var ikke typiske bedrifter som selger til forbrukere i "
"søken etter størst mulig overskudd og hevet bunnlinje. I stedet delte de for "
"å gjøre verden til et bedre sted, ved å skape relasjoner og samfunn rundt "
"delte arbeider, genererte deres inntekter ikke ubegrenset vekst, men "
"bærekraftig drift."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:324
#, fuzzy
#| msgid ""
#| "They often didn’t like hearing what they do described as an open business "
#| "model. Their endeavor was something more than that.  Something different. "
#| "Something that generates not just economic value but social and cultural "
#| "value. Something that involves human connection. Being Made with Creative "
#| "Commons is not “business as usual.”"
msgid ""
"They often didn’t like hearing what they do described as an open business "
"model. Their endeavor was something more than that.  Something different. "
"Something that generates not just economic value but social and cultural "
"value. Something that involves human connection. Being Made with Creative "
"Commons is not <quote>business as usual.</quote>"
msgstr ""
"Ofte tok de ikke til seg deres virke beskrevet som <quote>åpen "
"forretningsmodell</quote>. Deres foretagende var noe mer enn det. Noe annet. "
"Noe som ikke bare ga økonomisk verdi, men også sosial og kulturell verdi.  "
"Noe mellommenneskelig forbundet.  Å skape med Creative Commons er ikke "
"<quote>slik vi vanligvis gjør det</quote>."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:332
msgid ""
"We had to rethink the way we conceived of this project. And it didn’t happen "
"overnight. From the fall of 2015 through 2016, we documented our thoughts in "
"blog posts on Medium and with regular updates to our Kickstarter backers. We "
"shared drafts of case studies and analysis with our Kickstarter cocreators, "
"who provided invaluable edits, feedback, and advice. Our thinking changed "
"dramatically over the course of a year and a half."
msgstr ""
"Vi måtte revurdere måten vi oppfattet dette prosjektet på. Og det skjedde "
"ikke over natten. Vi begikk oss fra høsten 2015 og hele 2016 inn i et "
"gjentatt bloggeri av oppdateringer til våre "
"folkefinansieringsstøttespillere. Utkast av enkeltstudier, med påfølgende "
"analyse, også delt, ga opphav til uvurderlige endringer, tilbakemeldinger og "
"råd. Vår tenkning endret seg dramatisk i løpet av halvannet år."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:341
msgid ""
"Throughout the process, the two of us have often had very different ways of "
"understanding and describing what we were learning. Learning from each other "
"has been one of the great joys of this work, and, we hope, something that "
"has made the final product much richer than it ever could have been if "
"either of us undertook this project alone.  We have preserved our voices "
"throughout, and you’ll be able to sense our different but complementary "
"approaches as you read through our different sections."
msgstr ""
"Til glede for oss som startet den, har gjensidig læring gjennom hele "
"prosessen fulgt de ulike måtene vi to forstår og beskriver. Dets endelikt er "
"mye mer innholdsrikt enn det ville vært hvis én av oss gjennomførte "
"prosjektet alene. Våre stemmer er ivaretatt underveis, og du vil kunne finne "
"våre ulike, men utfyllende tilnærminger i henholdsvise seksjoner."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:351
msgid ""
"While we recommend that you read the book from start to finish, each section "
"reads more or less independently. The book is structured into two main parts."
msgstr ""
"Bokens to hoveddeler kan leses i sin helhet fra start til slutt, eller "
"kapittelvis hver for seg."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:356
msgid ""
"Part one, the overview, begins with a big-picture framework written by Paul. "
"He provides some historical context for the digital commons, describing the "
"three ways society has managed resources and shared wealth—the commons, the "
"market, and the state. He advocates for thinking beyond business and market "
"terms and eloquently makes the case for sharing and enlarging the digital "
"commons."
msgstr ""
"Paul fører i første del i pennen en oversikt som begynner med det store "
"bildet; Historisk bakgrunn for den digitale allmenning, i beskrivelsen av de "
"tre måtene samfunnet håndterer ressurser og deler inntekter: Allmenningen, "
"markedet og staten. Han tar til orde for tenkning utover næringsvirksomhet "
"og markedsbegreper, og velformulerer i sitt syn på deling og utvidelse av "
"den digitale allmenning."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:364
msgid ""
"The overview continues with Sarah’s chapter, as she considers what it means "
"to be successfully Made with Creative Commons. While making money is one "
"piece of the pie, there is also a set of public-minded values and the kind "
"of human connections that make sharing truly meaningful. This section "
"outlines the ways the creators, organizations, and businesses we interviewed "
"bring in revenue, how they further the public interest and live out their "
"values, and how they foster connections with the people with whom they share."
msgstr ""
"Oversikten utvides i Sarahs kapittel i en vurdering av hva det betyr å "
"lykkes med Creative Commons. Grunking bespiser seg forvisselig av "
"diagramkaken, men ikke uten at offentlig baserte verdier skyver stoler til "
"bords, med den slags menneskelige forbindelser som gjør deling virkelig "
"meningsfullt. Denne delen beskriver hvordan skaperne, organisasjoner og "
"bedrifter vi intervjuet, skaffer inntekter, hvordan de videre fremmer "
"allmenne interesser og realiserer sine verdier, og hvordan de knytter "
"forbindelser med folk de deler med."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:374
msgid ""
"And to end part one, we have a short section that explains the different "
"Creative Commons licenses. We talk about the misconception that the more "
"restrictive licenses—the ones that are closest to the all-rights-reserved "
"model of traditional copyright—are the only ways to make money."
msgstr ""
"Fullendelsen av første del, byr på avsnitts forklaring av de ulike Creative "
"Commons-lisensene. Misforståelsen om at de mer restriktiv lisensene - de som "
"nærmest <quote>alle rettigheter reservert</quote>-opphavsmodellen i "
"tradisjonell uforstand - er de eneste måtene å tjene penger på."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:381
msgid ""
"Part two of the book is made up of the twenty-four stories of the creators, "
"businesses, and organizations we interviewed. While both of us participated "
"in the interviews, we divided up the writing of these profiles."
msgstr ""
"Bokens intervjupregede andre del er historien om aktører, bedrifter og "
"organisasjoner, tjuefire i tallet. Spørsmålene ble stilt av oss begge, og "
"skrivingen av profilene fordelt oss imellom deretter."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:387
msgid ""
"Of course, we are pleased to make the book available using a Creative "
"Commons Attribution-ShareAlike license. Please copy, distribute, translate, "
"localize, and build upon this work."
msgstr ""
"Selvfølgelig er vi glade for å gjøre boken tilgjengelig med en Creative "
"Commons Navngivelse-Del på samme vilkår (CC-BY-SA)-lisens. Kopiér, "
"distribuer, oversett, lokaliser, og bygg gjerne videre på dette arbeidet."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:392
msgid ""
"Writing this book has transformed and inspired us. The way we now look at "
"and think about what it means to be Made with Creative Commons has "
"irrevocably changed. We hope this book inspires you and your enterprise to "
"use Creative Commons and in so doing contribute to the transformation of our "
"economy and world for the better."
msgstr ""
"Denne boka har endret og inspirert oss. Måten vi nå gjør betraktninger og "
"tenker om hva det betyr å <quote>lage med Creative Commons</quote> er "
"ugjenkallelig forandret. Vi håper denne boken inspirerer deg og ditt foretak "
"til å bruke Creative Commons, og dermed bidra til forandringen av vår "
"økonomi og verden til det bedre."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:399
msgid "<emphasis>Paul and Sarah </emphasis>"
msgstr "<emphasis>Paul og Sarah </emphasis>"

#. type: Content of: <book><part><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:403
msgid "The Big Picture"
msgstr "Det store bildet"

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:405
msgid "The New World of Digital Commons"
msgstr "Den digitale allmennings nye verden"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:407
msgid "Paul Stacey"
msgstr "Paul Stacey"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:417
msgid ""
"Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14."
msgstr ""
"Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:410
#, fuzzy
#| msgid ""
#| "Jonathan Rowe eloquently describes the commons as “the air and oceans, "
#| "the web of species, wilderness and flowing water—all are parts of the "
#| "commons. So are language and knowledge, sidewalks and public squares, the "
#| "stories of childhood and the processes of democracy. Some parts of the "
#| "commons are gifts of nature, others the product of human endeavor. Some "
#| "are new, such as the Internet; others are as ancient as soil and "
#| "calligraphy.”<placeholder type=\"footnote\" id=\"0\"/>"
msgid ""
"Jonathan Rowe eloquently describes the commons as <quote>the air and oceans, "
"the web of species, wilderness and flowing water—all are parts of the "
"commons. So are language and knowledge, sidewalks and public squares, the "
"stories of childhood and the processes of democracy. Some parts of the "
"commons are gifts of nature, others the product of human endeavor. Some are "
"new, such as the Internet; others are as ancient as soil and calligraphy.</"
"quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Jonathan Rowe beskriver elegant allmenningen som <quote>luften og havene, "
"nettverket av arter, villmark og rennende vann - alle er deler av "
"allmenningen. Det samme er språk og kunnskap, fortau og torg, historier fra "
"barndommen og demokratiske prosesser. Noen deler av allmenningen er gaver "
"fra naturen, andre er resultat av menneskelige bestrebelser. Noen er nye, "
"for eksempel Internett; andre like eldgamle som jord og kalligrafi.</"
"quote><placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:422
msgid ""
"In Made with Creative Commons, we focus on our current era of digital "
"commons, a commons of human-produced works. This commons cuts across a broad "
"range of areas including cultural heritage, education, research, technology, "
"art, design, literature, entertainment, business, and data. Human-produced "
"works in all these areas are increasingly digital. The Internet is a kind of "
"global, digital commons. The individuals, organizations, and businesses we "
"profile in our case studies use Creative Commons to share their resources "
"online over the Internet."
msgstr ""
"I <quote>Laget med Creative Commons</quote> fokuserer vi på vår nåværende "
"æras digitale allmenning, en allmenningen av menneskelagede arbeider. Denne "
"allmenningen går på tvers av en rekke områder, inkludert kulturarv, "
"utdanning, forskning, teknologi, kunst, design, litteratur, underholdning, "
"forretning og data. Kulturbærere hvis menneskelagde støtteverk i økende grad "
"tilfaller den digitale sfære. Internett er en type global, digital "
"allmenning. Personer, organisasjoner og bedrifter vi trekker frem i våre "
"saksstudier bruker Creative Commons til deling av sine ressurser på "
"Internett."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:437
msgid ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 176."
msgstr ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 176."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:445
msgid "Ibid., 15."
msgstr "Ibid., 15."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:433
msgid ""
"The commons is not just about shared resources, however. It’s also about the "
"social practices and values that manage them. A resource is a noun, but to "
"common—to put the resource into the commons—is a verb.<placeholder type="
"\"footnote\" id=\"0\"/> The creators, organizations, and businesses we "
"profile are all engaged with commoning. Their use of Creative Commons "
"involves them in the social practice of commoning, managing resources in a "
"collective manner with a community of users.<placeholder type=\"footnote\" "
"id=\"1\"/> Commoning is guided by a set of values and norms that balance the "
"costs and benefits of the enterprise with those of the community. Special "
"regard is given to equitable access, use, and sustainability."
msgstr ""
"Allmenningen er ikke bare dens delte ressurser, også iført sosial praksis og "
"verdiene som igjen styrer den. En ressurs er et substantiv, men "
"allmenngjøring - å legge ressursen inn i allmenningen - er et verb."
"<placeholder type=\"footnote\" id=\"0\"/> Produsenter, organisasjoner og "
"bedrifter vi profilerer er alle engasjert i allmenngjøring. Deres bruk av "
"Creative Commons impliserer dem i den sosiale gjennomføringen av "
"allmenngjøring, administrering av ressurser kollektivt i et brukerfellesskap."
"<placeholder type=\"footnote\" id=\"1\"/> Allmenngjøring styres av et sett "
"verdier og normer som balanserer kostnadene og fordelene for foretaket med "
"dem for fellesskapet. Særlig vekt er tillagt rettferdig tilgang, bruk og "
"bærekraft."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:452
msgid "The Commons, the Market, and the State"
msgstr "Allmenningen, markedet, og staten"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:458
#, fuzzy
msgid "Ibid., 145."
msgstr "Ibid., 145."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:454
msgid ""
"Historically, there have been three ways to manage resources and share "
"wealth: the commons (managed collectively), the state (i.e., the "
"government), and the market—with the last two being the dominant forms today."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Historisk har det vært tre måter å administrere ressurser og fordele rikdom "
"på: Allmenningen (håndtert kollektivt) og staten (dvs. myndighetene) og "
"markedet - med de siste to som dominerende former per 2017.<placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:467
#, fuzzy
msgid "Ibid., 175."
msgstr "Ibid., 175."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:462
msgid ""
"The organizations and businesses in our case studies are unique in the way "
"they participate in the commons while still engaging with the market and/or "
"state. The extent of engagement with market or state varies. Some operate "
"primarily as a commons with minimal or no reliance on the market or state."
"<placeholder type=\"footnote\" id=\"0\"/> Others are very much a part of the "
"market or state, depending on them for financial sustainability. All operate "
"as hybrids, blending the norms of the commons with those of the market or "
"state."
msgstr ""
"Organisasjoner og bedrifter i våre saksstudier er unike i måten de deltar i "
"allmenningen mens de fortsatt er engasjert i markedet og/eller staten. "
"Omfanget av engasjement mot marked og stat varierer. Noen opererer primært "
"som allmenning hvis virke uten eller i liten grad er avhengig av markedet "
"eller staten.<placeholder type=\"footnote\" id=\"0\"/> Andre er i høyeste "
"grad en del av markedet eller staten, og avhenger av dem for sin finansielle "
"bærekraft. Alle fungerer som hybrider, som kombinerer allemannseiets normer "
"med dem som gjelder for markedet eller staten."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:474
msgid ""
"Fig. 1. is a depiction of how an enterprise can have varying levels of "
"engagement with commons, state, and market."
msgstr ""
"Fig.1. Skildrer hvordan en bedrift kan ha varierende grad av engasjement med "
"allemannseie, staten og markedet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:478
msgid ""
"Some of our case studies are simply commons and market enterprises with "
"little or no engagement with the state. A depiction of those case studies "
"would show the state sphere as tiny or even absent. Other case studies are "
"primarily market-based with only a small engagement with the commons. A "
"depiction of those case studies would show the market sphere as large and "
"the commons sphere as small. The extent to which an enterprise sees itself "
"as being primarily of one type or another affects the balance of norms by "
"which they operate."
msgstr ""
"Noen av våre saksstudier er simpelthen allemannseie, og har lite eller inget "
"engasjement med og i offentlig sektor. En avbildning av disse løsningene "
"ville vist tilknytningen til staten i offentlig sektor som forbilledlig "
"liten, eller til og med fraværende. Andre saksstudier er primært "
"markedsbaserte med kun en liten fot i allemannseiet. Sindig fremstilt for "
"fellesskapssfærens vegg viser markedssfæren seg stor. I hvilken grad en "
"bedrift ser seg selv som hovedsakelig av én type eller en annen, påvirker "
"sammensetningen av styrende normer."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:489
msgid ""
"All our case studies generate money as a means of livelihood and "
"sustainability. Money is primarily of the market. Finding ways to generate "
"revenue while holding true to the core values of the commons (usually "
"expressed in mission statements) is challenging. To manage interaction and "
"engagement between the commons and the market requires a deft touch, a "
"strong sense of values, and the ability to blend the best of both."
msgstr ""
"I saksstudiens anledning tjenestegjorde alle studerte til både livets "
"rettmessige opphold og bærekraft. Pengene fant veien hovedsakelig fra "
"markedet. Ved å generere inntekter på allmenningens premisser, ligger "
"utfordringen i å holde seg til dens kjerneverdier(, vanligvis uttrykt i ens "
"egne målformuleringer). Administrering av samhandling og engasjement mellom "
"fellesskapene og markedet krever litt netthendthet, en sterk fingerfølelse "
"for verdier, og evnen til å kombinere det beste fra begge."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:498
msgid ""
"The state has an important role to play in fostering the use and adoption of "
"the commons. State programs and funding can deliberately contribute to and "
"build the commons. Beyond money, laws and regulations regarding property, "
"copyright, business, and finance can all be designed to foster the commons."
msgstr ""
"Staten har en viktig rolle å spille i å fremme aksept og bruk av felleseier. "
"Statlige programmer og finansiering kan bevisst bidra til å bygge "
"allemannseier. Utover bevilgninger, lovgivning og regler om eiendomsrett, "
"kan opphavsrett, forretningsvirksomhet og finansiering, alle være utformet i "
"hensikt å fremme allemannseie."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:505
#: MadewithCreativeCommonsmostup-to-dateversion.xml:512
msgid "Enterprise engagement with commons, state and market."
msgstr ""
"En bedrifts varierende grad av engasjement i allemannseie, statlig henseende "
"og markedet."

#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:509
msgid "Pictures/10000201000008000000045C30360249076453E6.png"
msgstr "Pictures/10000201000008000000045C30360249076453E6.png"

#. type: Content of: <book><part><chapter><sect1><figure>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:507
#: MadewithCreativeCommonsmostup-to-dateversion.xml:556
#: MadewithCreativeCommonsmostup-to-dateversion.xml:674
#: MadewithCreativeCommonsmostup-to-dateversion.xml:803
#: MadewithCreativeCommonsmostup-to-dateversion.xml:845
#: MadewithCreativeCommonsmostup-to-dateversion.xml:933
msgid "<placeholder type=\"mediaobject\" id=\"0\"/>"
msgstr "<placeholder type=\"mediaobject\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:518
msgid ""
"It’s helpful to understand how the commons, market, and state manage "
"resources differently, and not just for those who consider themselves "
"primarily as a commons. For businesses or governmental organizations who "
"want to engage in and use the commons, knowing how the commons operates will "
"help them understand how best to do so. Participating in and using the "
"commons the same way you do the market or state is not a strategy for "
"success."
msgstr ""
"Det er nyttig for alle å forstå hvordan allemannseie, markedet og offentlig "
"sektor håndterer ressurser på ulike måter, og ikke bare for dem som anser "
"seg selv som hovedsakelig et felleseie. For bedrifter eller offentlige "
"organisasjoner som ønsker å engasjere seg i, og å bruke allemannseie, vil "
"det å vite hvordan allmenningen fungerer være til hjelp for å finne den "
"beste måten for å gjøre dette på. Deltagelse og bruk av felleseie på samme "
"måte man tilforlatelig ellers gjør det i markedet eller i staten, er ikke en "
"vinnende strategi."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:529
msgid "The Four Aspects of a Resource"
msgstr "De fire aspektene ved en ressurs"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:534
#, fuzzy
#| msgid ""
#| "Daniel H. Cole, “Learning from Lin: Lessons and Cautions from the Natural "
#| "Commons for the Knowledge Commons,” in Governing Knowledge Commons, eds. "
#| "Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg (New "
#| "York: Oxford University Press, 2014), 53."
msgid ""
"Daniel H. Cole, <quote>Learning from Lin: Lessons and Cautions from the "
"Natural Commons for the Knowledge Commons,</quote> in Governing Knowledge "
"Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.  "
"Strandburg (New York: Oxford University Press, 2014), 53."
msgstr ""
"Daniel H. Cole, <quote>Learning from Lin: Lessons and Cautions from the "
"Natural Commons for the Knowledge Commons</quote>, i Governing Knowledge "
"Commons, red. Brett M. Frischmann, Michael J. Madison, og Katherine J. "
"Strandburg (New York: Oxford University Press, 2014), 53."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:531
msgid ""
"As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework "
"for analyzing how natural resources are managed in a commons.<placeholder "
"type=\"footnote\" id=\"0\"/> Her framework considered things like the "
"biophysical characteristics of common resources, the community’s actors and "
"the interactions that take place between them, rules-in-use, and outcomes. "
"That framework has been simplified and generalized to apply to the commons, "
"the market, and the state for this chapter."
msgstr ""
"Som en del av sitt Nobelprisvinnende arbeid, utviklet Elinor Ostrom et "
"rammeverk for analyse av hvordan naturressurser administreres i en "
"allmenning.<placeholder type=\"footnote\" id=\"0\"/> Hennes rammeverk "
"vurderte ting som biofysiske karakteristikker ved fellesressurser, "
"samfunnets aktører og samhandlingene dem, imellom uformelle regler-i-bruk, "
"og resultater. Dette rammeverket er forenklet og generalisert for bruk i "
"felleseie, markedet og staten, det offentlige, for dette kapitlet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:547
msgid ""
"To compare and contrast the ways in which the commons, market, and state "
"work, let’s consider four aspects of resource management: resource "
"characteristics, the people involved and the process they use, the norms and "
"rules they develop to govern use, and finally actual resource use along with "
"outcomes of that use (see Fig. 2)."
msgstr ""
"For å sammenligne og vise kontraster i måter allemannseie, markedet, og det "
"offentlige arbeider, la oss vurdere fire sider ved ressursadministrasjon: "
"Ressursens karakteristika, de involverte personene og den prosessen de "
"nyttegjør seg, normer og regler de utvikler for å styre bruken, og til slutt "
"den faktiske ressursbruken sammen med resultatene av denne bruken (se Fig. "
"2)."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:555
#: MadewithCreativeCommonsmostup-to-dateversion.xml:561
msgid "Four aspects of resource management"
msgstr "Fire aspekter ved ressursbehandling"

#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:558
msgid "Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png"
msgstr "Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:567
msgid "Characteristics"
msgstr "Karakteristika"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:569
msgid ""
"Resources have particular characteristics or attributes that affect the way "
"they can be used. Some resources are natural; others are human produced. And—"
"significantly for today’s commons—resources can be physical or digital, "
"which affects a resource’s inherent potential."
msgstr ""
"Ressurser har spesielle egenskaper eller attributter som påvirker bruken av "
"dem. Noen ressurser er naturlige; andre er menneskeskapt. Og - av betydning  "
"for dagens felleseie - ressurser kan være fysiske eller digitale, noe som "
"påvirker det iboende ressurspotensialet."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:576
msgid ""
"Physical resources exist in limited supply. If I have a physical resource "
"and give it to you, I no longer have it.  When a resource is removed and "
"used, the supply becomes scarce or depleted. Scarcity can result in "
"competing rivalry for the resource. Made with Creative Commons enterprises "
"are usually digitally based but some of our case studies also produce "
"resources in physical form. The costs of producing and distributing a "
"physical good usually require them to engage with the market."
msgstr ""
"Fysiske ressurser er begrensede. Hvis jeg har en fysisk ressurs og gir den "
"til deg, har jeg den ikke lenger. Når en ressurs er fjernet og brukt, blir "
"tilbudet knapt eller utarmet. Knapphet kan føre til konkurranse og "
"rivalisering om ressursen. Tiltak laget med Creative Commons er vanligvis "
"digitalt betinget, men noen av våre saksstudier viser også til produksjon av "
"ressurser i fysisk form. Kostnadene ved å produsere og distribuere et fysisk "
"gode, krever vanligvis at man har med markedet å gjøre."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:587
msgid ""
"Physical resources are depletable, exclusive, and rivalrous.  Digital "
"resources, on the other hand, are nondepletable, nonexclusive, and "
"nonrivalrous. If I share a digital resource with you, we both have the "
"resource. Giving it to you does not mean I no longer have it. Digital "
"resources can be infinitely stored, copied, and distributed without becoming "
"depleted, and at close to zero cost. Abundance rather than scarcity is an "
"inherent characteristic of digital resources."
msgstr ""
"Fysiske ressurser utarmes, er eksklusive, og tevles om. Digitale ressurser, "
"derimot, er uutømmelige, ikke-eksklusive, og maner ikke til rivalisering. "
"Hvis jeg deler en digital ressurs med deg, har vi begge ressursen. Å gi den "
"til deg betyr ikke at jeg ikke lenger har den. Digitale ressurser kan lages "
"i det uendelige, kopieres og distribueres uten å bli uttømt, og til en "
"kostnad nær null. Overflod i stedet for knapphet er en iboende "
"karakteristikk ved digitale ressurser."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:597
msgid ""
"The nondepletable, nonexclusive, and nonrivalrous nature of digital "
"resources means the rules and norms for managing them can (and ought to) be "
"different from how physical resources are managed. However, this is not "
"always the case. Digital resources are frequently made artificially scarce. "
"Placing digital resources in the commons makes them free and abundant."
msgstr ""
"At de digitale ressursene er uuttømmelige, ikke-eksklusive og ikke-"
"rivaliserende, betyr at reglene og normene for å håndtere dem kan (og bør) "
"være forskjellige fra hvordan fysiske ressurser håndteres. Det er dog ikke "
"alltid tilfellet. Kunstig knappet har ofte en tillagt kunstig knappet. Å "
"plassere digitale ressurser i allmenningen gjør dem derimot gratis og "
"rikelige."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:605
msgid ""
"Our case studies frequently manage hybrid resources, which start out as "
"digital with the possibility of being made into a physical resource. The "
"digital file of a book can be printed on paper and made into a physical "
"book. A computer-rendered design for furniture can be physically "
"manufactured in wood.  This conversion from digital to physical invariably "
"has costs.  Often the digital resources are managed in a free and open way, "
"but money is charged to convert a digital resource into a physical one."
msgstr ""
"Våre saksstudier ble funnet å ofte håndtere hybrid-ressurser, som begynner "
"som digitale, med muligheter for å bli omgjort til en fysiske ressurser. Den "
"digitale bokfilen kan trykkes på papir og gjøres til en fysisk bok. Et data-"
"tegnet møbeldesign kan fysisk produseres i tre. Den fysiske konverteringen "
"har alltid kostnader ved seg. De digitale ressursene administreres ofte på "
"en fri og åpen måte, men det kreves penger for å konvertere en digital "
"ressurs til noe fysisk."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:616
msgid ""
"Beyond this idea of physical versus digital, the commons, market, and state "
"conceive of resources differently (see Fig.  3). The market sees resources "
"as private goods—commodities for sale—from which value is extracted. The "
"state sees resources as public goods that provide value to state citizens. "
"The commons sees resources as common goods, providing a common wealth "
"extending beyond state boundaries, to be passed on in undiminished or "
"enhanced form to future generations."
msgstr ""
"Utover denne idéen med fysisk sett opp mot det digitale, forstår "
"allmenninger, markedet og staten ressurser forskjellig (se Fig. 3). Markedet "
"ser ressurser som private varer, goder for salg - som gir verdi. Staten ser "
"ressurser som offentlige goder som gir verdi til innbyggere. Allmenninger "
"ser ressurser som felles goder, som utgjør en felles rikdom som strekker seg "
"utover landets grenser, og videreformidles uforminsket eller i forbedret "
"form til fremtidige generasjoner."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:627
msgid "People and processes"
msgstr "Folk og prosesser"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:629
msgid ""
"In the commons, the market, and the state, different people and processes "
"are used to manage resources. The processes used define both who has a say "
"and how a resource is managed."
msgstr ""
"I allemannseie, markedet og staten brukes ulike mennesker og prosesser til "
"administrering av ressurser. Prosessene som brukes definerer både hvem som "
"har innflytelse og hvordan en ressurs håndteres."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:634
msgid ""
"In the state, a government of elected officials is responsible for managing "
"resources on behalf of the public. The citizens who produce and use those "
"resources are not directly involved; instead, that responsibility is given "
"over to the government.  State ministries and departments staffed with "
"public servants set budgets, implement programs, and manage resources based "
"on government priorities and procedures."
msgstr ""
"I staten utgår en regjering fra folkevalgte ansvarlige for "
"ressurshåndteringen på vegne av folk flest. Innbyggerne som produserer og "
"bruker disse ressursene er ikke direkte involvert; i stedet er ansvaret "
"overlevnet regjeringen. Statlige departementer og avdelinger bemannet med "
"offentlige tjenestemenn setter opp budsjetter, gjennomfører programmer og "
"administrerer ressurser basert på regjeringens prioriteringer og prosedyrer."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:643
msgid ""
"In the market, the people involved are producers, buyers, sellers, and "
"consumers. Businesses act as intermediaries between those who produce "
"resources and those who consume or use them. Market processes seek to "
"extract as much monetary value from resources as possible. In the market, "
"resources are managed as commodities, frequently mass-produced, and sold to "
"consumers on the basis of a cash transaction."
msgstr ""
"I markedet er menneskene involvert produsenter, kjøpere, selgere og "
"forbrukere. Bedrifter fungerer som mellomledd mellom dem som produserer "
"ressurser og dem som konsumerer eller bruker dem. Markedets prosesser søker "
"å hente ut så mye verdi fra ressurser som mulig. Ressurser håndteres som en "
"handelsvare i markedet, ofte masseprodusert, og solgt til forbrukere på "
"grunnlag av en betalingstransaksjon."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:654
#, fuzzy
msgid ""
"Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons (New York: Zed Books, 2014), 93."
msgstr ""
"Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons (New York: Zed-bøker, 2014), 93."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:652
#, fuzzy
msgid ""
"In contrast to the state and market, resources in a commons are managed more "
"directly by the people involved.<placeholder type=\"footnote\" id=\"0\"/> "
"Creators of human produced resources can put them in the commons by personal "
"choice. No permission from state or market is required. Anyone can "
"participate in the commons and determine for themselves the extent to which "
"they want to be involved—as a contributor, user, or manager. The people "
"involved include not only those who create and use resources but those "
"affected by outcome of use. Who you are affects your say, actions you can "
"take, and extent of decision making. In the commons, the community as a "
"whole manages the resources.  Resources put into the commons using Creative "
"Commons require users to give the original creator credit. Knowing the "
"person behind a resource makes the commons less anonymous and more personal."
msgstr ""
"I motsetning til staten og markedet, håndteres ressurser i en allmenning mer "
"direkte av de involverte.<placeholder type=\"footnote\" id=\"0\"/> De som "
"lager menneskeproduserte ressurser kan legge dem i felleseiet av eget valg. "
"Det kreves ingen tillatelse fra staten eller markedet. Alle kan delta i "
"allmenningen og selv bestemme seg for hvor mye de ønsker å involvere seg - "
"som bidragsyter, bruker eller administrator. Involverte inkluderer ikke bare "
"dem som oppretter og bruker ressurser, også dem som berøres av resultatet av "
"bruk. Hvem du er, påvirker hva du har å si, hvilke handlinger du kan utføre, "
"og omfanget av beslutningstaking. I allmenningen er det fellesskapet som "
"helhet som administrerer ressursene. Ressurser lagt inn i felleseiet ved "
"bruk av Creative Commons krever at brukerne krediterer den opprinnelige "
"skaperen. Å vite hvem personen bak en ressurs er, gjør fellesskapseie mindre "
"anonymt og mer personlig."

#. type: Content of: <book><part><chapter><sect1><sect2><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:672
#: MadewithCreativeCommonsmostup-to-dateversion.xml:679
msgid "How the market, commons and state concieve of resources."
msgstr "Hvordan markedet, fellesskap og staten oppfatter ressurser."

#. type: Attribute 'fileref' of: <book><part><chapter><sect1><sect2><figure><mediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:676
msgid "Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png"
msgstr "Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:686
msgid "Norms and rules"
msgstr "Normer og regler"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:688
msgid ""
"The social interactions between people, and the processes used by the state, "
"market, and commons, evolve social norms and rules. These norms and rules "
"define permissions, allocate entitlements, and resolve disputes."
msgstr ""
"De sosiale samhandlingene mellom mennesker, og prosessene brukt av staten, "
"markedet og samfunnet for øvrig, utvikler sosiale normer og regler.  Disse "
"normene og reglene definerer tillatelser, tildeler rettigheter og løser "
"disputter."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:694
msgid ""
"State authority is governed by national constitutions. Norms related to "
"priorities and decision making are defined by elected officials and "
"parliamentary procedures. State rules are expressed through policies, "
"regulations, and laws. The state influences the norms and rules of the "
"market and commons through the rules it passes."
msgstr ""
"Statlig myndighet er underlagt nasjonale regelverk. Normer knyttet til "
"prioriteringer og beslutningsprosesser defineres av folkevalgte og "
"parlamentariske prosedyrer. Statlige føringer uttrykkes gjennom politiske "
"vedtak, lover og regler. Staten påvirker normer og regler for markedet og "
"allemannseie gjennom de reglene som lages."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:702
msgid ""
"Market norms are influenced by economics and competition for scarce "
"resources. Market rules follow property, business, and financial laws "
"defined by the state."
msgstr ""
"Markedets normer påvirkes av økonomi og konkurranse om knappe ressurser. "
"Markedsreguleringene omfatter eierforhold, virksomheter og økonomiske lover "
"definert av staten."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:714
#, fuzzy
msgid "Bollier, Think Like a Commoner, 175."
msgstr "Bollier, Think Like a Commoner, 175."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:707
msgid ""
"As with the market, a commons can be influenced by state policies, "
"regulations, and laws. But the norms and rules of a commons are largely "
"defined by the community. They weigh individual costs and benefits against "
"the costs and benefits to the whole community. Consideration is given not "
"just to economic efficiency but also to equity and sustainability."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Som med markedet, kan et felleseie påvirkes av offentlig praksis, "
"forskrifter og lover. Normer og regler for et allemannseie er i det store og "
"hele definert av det. De veier individuelle kostnader og fordeler - mot "
"kostnader og fordeler for hele felleseiet. Det tas ikke bare hensyn til "
"økonomisk effektivitet, men også egenkapital og bærekraftighet.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:719
msgid "Goals"
msgstr "Mål"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:721
msgid ""
"The combination of the aspects we’ve discussed so far—the resource’s "
"inherent characteristics, people and processes, and norms and rules—shape "
"how resources are used. Use is also influenced by the different goals the "
"state, market, and commons have."
msgstr ""
"Kombinasjonen av forhold vi har diskutert så langt - de iboende egenskapene, "
"folk, prosesser, normer og regler - former bruken av ressursene, som også "
"svarer til målene til stat, marked og allmenning."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:733
#, fuzzy
msgid ""
"Joshua Farley and Ida Kubiszewski, <quote>The Economics of Information in a "
"Post-Carbon Economy,</quote> in Free Knowledge: Confronting the "
"Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl H. "
"Hepting (Regina, SK: University of Regina Press, 2015), 201–4."
msgstr ""
"Joshua Farley og Ida Kubiszewski, “The Economics of Information in a Post-"
"Carbon Economy,” i Free Knowledge: Confronting the Commodification of Human "
"Discovery, eds.  Patricia W. Elliott and Daryl H. Hepting (Regina, SK: "
"University of Regina Press, 2015), 201–4."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:728
msgid ""
"In the market, the focus is on maximizing the utility of a resource. What we "
"pay for the goods we consume is seen as an objective measure of the utility "
"they provide. The goal then becomes maximizing total monetary value in the "
"economy.<placeholder type=\"footnote\" id=\"0\"/> Units consumed translates "
"to sales, revenue, profit, and growth, and these are all ways to measure "
"goals of the market."
msgstr ""
"I markedet, fokuseres det på å maksimere nytten av en ressurs. Hva vi "
"betaler for varene vi forbruker, sees som et objektivt mål på den nytten de "
"høver. Målet blir da å maksimere den totale økonomiske pengeverdien."
"<placeholder type=\"footnote\" id=\"0\"/>  Forbrukte enheter forstås som "
"salg, inntekter, fortjeneste og vekst, alle disse måter å måle markedet på."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:743
msgid ""
"The state aims to use and manage resources in a way that balances the "
"economy with the social and cultural needs of its citizens. Health care, "
"education, jobs, the environment, transportation, security, heritage, and "
"justice are all facets of a healthy society, and the state applies its "
"resources toward these aims. State goals are reflected in quality of life "
"measures."
msgstr ""
"Staten tar sikte på å bruk og administrasjon av ressurser på en måte som "
"balanserer økonomi mot sine innbyggeres sosiale og kulturelle behov. "
"Helsetjenester, utdanning, jobb, miljø, transport, sikkerhet, arv og "
"rettferdighet er alle fasetter av et sunt samfunn, og staten bruker sine "
"ressurser i oppnåelsen av disse. Statlige mål gjenspeiles i mål på "
"livskvalitet."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:752
#, fuzzy
msgid ""
"In the commons, the goal is maximizing access, equity, distribution, "
"participation, innovation, and sustainability.  You can measure success by "
"looking at how many people access and use a resource; how users are "
"distributed across gender, income, and location; if a community to extend "
"and enhance the resources is being formed; and if the resources are being "
"used in innovative ways for personal and social good."
msgstr ""
"I allmenningen er målet å maksimere tilgang, egenkapital, distribusjon, "
"deltakelse, innovasjon og bærekraft. Suksess kan måles i hvor mange personer "
"som har tilgang til, og bruker en ressurs; kjønnsfordeling, inntekt og hvor "
"de bor; om et fellesskap utvider og forbedrer de ressurser som lages; og om "
"ressursene brukes på innovative måter til fordel for personlige og sosiale "
"goder."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:761
msgid ""
"As hybrid combinations of the commons with the market or state, the success "
"and sustainability of all our case study enterprises depends on their "
"ability to strategically utilize and balance these different aspects of "
"managing resources."
msgstr ""
"Som hybridkombinasjoner av fellesskapseie og marked eller stat, avhenger "
"suksessen og bærekraften i alle våre saksstudier av tiltakenes evne til å "
"strategisk bruke og balansere disse ulike aspektene ved sin "
"ressurshåndtering."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:769
msgid "A Short History of the Commons"
msgstr "En kort historie om almenningen"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:771
msgid ""
"Using the commons to manage resources is part of a long historical "
"continuum. However, in contemporary society, the market and the state "
"dominate the discourse on how resources are best managed. Rarely is the "
"commons even considered as an option. The commons has largely disappeared "
"from consciousness and consideration. There are no news reports or speeches "
"about the commons."
msgstr ""
"Å bruke felleseie i håndtering av ressurser er en del av et langt historisk "
"løp. I det moderne samfunn dominerer markedet og staten diskusjonen om "
"hvordan ressurser best håndteres. Sjelden blir allemannseie i det hele tatt "
"vurdert som et alternativ. Allemannseie har i stor grad funnet veien ut av "
"bevissthet og omtanke. Det finnes ingen nyheter eller taler om allmenningen."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:780
msgid ""
"But the more than 1.1 billion resources licensed with Creative Commons "
"around the world are indications of a grassroots move toward the commons. "
"The commons is making a resurgence. To understand the resilience of the "
"commons and its current renewal, it’s helpful to know something of its "
"history."
msgstr ""
"Mer enn 1,1 milliarder ressurser lisensiert Creative Commons verden over, er "
"indikasjon på en grasrotbevegelse i retning av allemannseie. Felleseie "
"blomstrer igjen. For å forstå motstandsdyktigheten i slikt eie, og den "
"pågående fornyelsen er det nyttig å vite noe om dens historie."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:791
#, fuzzy
msgid ""
"Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for "
"the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society, "
"2014), 42–43."
msgstr ""
"Rowe, Our Common Wealth, 19; og Heather Menzies, Reclaiming the Commons for "
"the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society, "
"2014), 42–43."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:787
msgid ""
"For centuries, indigenous people and preindustrialized societies managed "
"resources, including water, food, firewood, irrigation, fish, wild game, and "
"many other things collectively as a commons.<placeholder type=\"footnote\" "
"id=\"0\"/> There was no market, no global economy. The state in the form of "
"rulers influenced the commons but by no means controlled it. Direct social "
"participation in a commons was the primary way in which resources were "
"managed and needs met. (Fig.  4 illustrates the commons in relation to the "
"state and the market.)"
msgstr ""
"I århundrer håndterte urfolk og førindustrielle samfunn ressurser, inkludert "
"vann, mat, brensel, vanningsanlegg, fisk, vilt og mange andre ting, "
"kollektivt i felleseie.<placeholder type=\"footnote\" id=\"0\"/> Det var "
"intet marked, ingen verdensøkonomi. Staten, i form av herskere, påvirket "
"allmenningene, men kontrollerte dem ikke. Direkte sosial deltakelse i en "
"allmenning var primært måten ressurser ble styrt på og behov møtt. (Fig. 4 "
"illustrerer allemannseie i forhold til stat og marked.)"

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:802
#: MadewithCreativeCommonsmostup-to-dateversion.xml:808
msgid "In preindustrialized society."
msgstr "I det førindustrielle samfunnet."

#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:805
msgid "Pictures/10000201000009C4000005153EACBD62F00F6BA9.png"
msgstr "Pictures/10000201000009C4000005153EACBD62F00F6BA9.png"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:817
#, fuzzy
msgid "Bollier, Think Like a Commoner, 55–78."
msgstr "Bollier, Think Like a Commoner, 55–78."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:821
#, fuzzy
msgid ""
"Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57; "
"and Bollier, Think Like a Commoner, 88."
msgstr ""
"Fritjof Capra og Ugo Mattei, The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57; "
"og Bollier, Think Like a Commoner, 88."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:814
#, fuzzy
msgid ""
"This is followed by a long history of the state (a monarchy or ruler) taking "
"over the commons for their own purposes. This is called enclosure of the "
"commons.<placeholder type=\"footnote\" id=\"0\"/> In olden days, "
"<quote>commoners</quote> were evicted from the land, fences and hedges "
"erected, laws passed, and security set up to forbid access.<placeholder type="
"\"footnote\" id=\"1\"/> Gradually, resources became the property of the "
"state and the state became the primary means by which resources were "
"managed. (See Fig. 5)."
msgstr ""
"Fulgt av en lang historie der staten (monarkiet eller en makthaver) overtar "
"allmenningen til egne formål. Dette kalles innkapsling av allemannseie."
"<placeholder type=\"footnote\" id=\"0\"/> I gamle dager ble "
"<quote>commoners</quote> kastet ut fra land, gjerder og hekker reist, lover "
"og sikkerhet satt opp for å forby adgang.<placeholder type=\"footnote\" id="
"\"1\"/> Gradvis ble ressursene statens eiendom, og staten ble det primære "
"verktøy for styring av disse ressursene. (Se Fig. 5)."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:830
msgid ""
"Holdings of land, water, and game were distributed to ruling family and "
"political appointees. Commoners displaced from the land migrated to cities. "
"With the emergence of the industrial revolution, land and resources became "
"commodities sold to businesses to support production. Monarchies evolved "
"into elected parliaments. Commoners became labourers earning money operating "
"the machinery of industry. Financial, business, and property laws were "
"revised by governments to support markets, growth, and productivity. Over "
"time ready access to market produced goods resulted in a rising standard of "
"living, improved health, and education. Fig. 6 shows how today the market is "
"the primary means by which resources are managed."
msgstr ""
"Eierskap til land, vann og vilt ble distribuert til den herskende familien "
"og politisk utvalgte. Vanlige borgere ble fordrevet fra landområdene og "
"flyttet til byer. Med fremveksten av den industrielle revolusjonen ble "
"landområder og ressurser solgt til bedrifter for å støtte produksjon. "
"Folkevalgte forsamlinger tok etter hvert over fra monarkier. Vanlige borgere "
"ble arbeidere som tjente penger ved å betjene maskiner i industrien. Finans, "
"virksomheter og eiendomsrett ble omdannet av regjeringene til å støtte "
"markeder, vekst og produktivitet. Over tid ga tilgang til markedsproduserte "
"varer økende levestandard, bedre helse og utdanning. Fig. 6 viser hvordan "
"markedet i dag er hovedmåten for ressurshåndtering."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:844
#: MadewithCreativeCommonsmostup-to-dateversion.xml:850
msgid "The commons is gradually superseded by the state."
msgstr "Almenningen er gradvis erstattet av staten."

#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:847
msgid "Pictures/10000201000009C4000005150F069409C1CC12F0.png"
msgstr "Pictures/10000201000009C4000005150F069409C1CC12F0.png"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:856
msgid ""
"However, the world today is going through turbulent times. The benefits of "
"the market have been offset by unequal distribution and overexploitation."
msgstr ""
"Verden gjennomgår turbulente tider. Fordelene med markedet har blitt "
"motvirket av ulik fordeling og rovdrift."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:861
#, fuzzy
#| msgid ""
#| "Overexploitation was the topic of Garrett Hardin’s influential essay “The "
#| "Tragedy of the Commons,” published in Science in 1968. Hardin argues that "
#| "everyone in a commons seeks to maximize personal gain and will continue "
#| "to do so even when the limits of the commons are reached. The commons is "
#| "then tragically depleted to the point where it can no longer support "
#| "anyone. Hardin’s essay became widely accepted as an economic truism and a "
#| "justification for private property and free markets."
msgid ""
"Overexploitation was the topic of Garrett Hardin’s influential essay "
"<quote>The Tragedy of the Commons,</quote> published in Science in 1968. "
"Hardin argues that everyone in a commons seeks to maximize personal gain and "
"will continue to do so even when the limits of the commons are reached. The "
"commons is then tragically depleted to the point where it can no longer "
"support anyone. Hardin’s essay became widely accepted as an economic truism "
"and a justification for private property and free markets."
msgstr ""
"Overutnyttelse var tema for Garrett Hardins innflytelsesrike essay om "
"<quote>Allmenningens tragedie</quote>, publisert i Science i 1968. Hardin "
"hevder at alle i et allmannseie søker å maksimere personlig vinning, og vil "
"fortsette å gjøre det selv når allmenningens grenser er nådd. Felleseiet "
"blir så, tragisk nok, utarmet til et punkt der det ikke tjener noen. Hardins "
"essay ble allment akseptert som en økonomisk sannhet og en begrunnelse for "
"privat eiendom og frie markeder."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:889
#, fuzzy
msgid ""
"Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg, "
"<quote>Governing Knowledge Commons,</quote> in Frischmann, Madison, and "
"Strandburg Governing Knowledge Commons, 12."
msgstr ""
"Brett M. Frischmann, Michael J. Madison, og Katherine J.  Strandburg, "
"“Governing Knowledge Commons,” i Frischmann, Madison, og Strandburg "
"Governing Knowledge Commons, 12."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:872
#, fuzzy
#| msgid ""
#| "However, there is one serious flaw with Hardin’s “The Tragedy of the "
#| "Commons”—it’s fiction. Hardin did not actually study how real commons "
#| "work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work "
#| "studying different commons all around the world. Ostrom’s work shows that "
#| "natural resource commons can be successfully managed by local communities "
#| "without any regulation by central authorities or without privatization. "
#| "Government and privatization are not the only two choices. There is a "
#| "third way: management by the people, where those that are directly "
#| "impacted are directly involved. With natural resources, there is a "
#| "regional locality. The people in the region are the most familiar with "
#| "the natural resource, have the most direct relationship and history with "
#| "it, and are therefore best situated to manage it. Ostrom’s approach to "
#| "the governance of natural resources broke with convention; she recognized "
#| "the importance of the commons as an alternative to the market or state "
#| "for solving problems of collective action.<placeholder type=\"footnote\" "
#| "id=\"0\"/>"
msgid ""
"However, there is one serious flaw with Hardin’s <quote>The Tragedy of the "
"Commons</quote>—it’s fiction. Hardin did not actually study how real commons "
"work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work "
"studying different commons all around the world. Ostrom’s work shows that "
"natural resource commons can be successfully managed by local communities "
"without any regulation by central authorities or without privatization.  "
"Government and privatization are not the only two choices. There is a third "
"way: management by the people, where those that are directly impacted are "
"directly involved. With natural resources, there is a regional locality. The "
"people in the region are the most familiar with the natural resource, have "
"the most direct relationship and history with it, and are therefore best "
"situated to manage it. Ostrom’s approach to the governance of natural "
"resources broke with convention; she recognized the importance of the "
"commons as an alternative to the market or state for solving problems of "
"collective action.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Det er dog en alvorlig feil med Hardins <quote>Allmenningens tragedie</"
"quote> - det er fiksjon. Hardin studerer ikke faktisk hvordan virkelige "
"felleseier fungerer. Elinor Ostrom vant Nobelprisen i økonomi i 2009 for "
"sitt arbeid for sin studie av allemannseier verden over. Ostroms arbeid "
"viser at naturressurs-allmenninger kan forvaltes med gode resultater av "
"lokalsamfunn uten regulering fra sentrale myndigheter eller privatisering. "
"Regjeringen og privatisering er ikke de eneste to valgene. Det er en tredje "
"vei: Styring av mennesker, der de som påvirkes direkte er direkte involvert. "
"Naturressurser har en regional tilhørighet. Folk i regionen er mest "
"fortrolig med naturressursene, har den mest direkte relasjonen, og en "
"historie knyttet til dem, og er derfor situasjonsbestemt godt forfordelt i "
"administrasjonen av dem. Ostroms tilnærming til styringen av naturressurser "
"brøt med konvensjonen; hun innså betydningen av felleseie som et alternativ "
"til markedet, eller staten for løsning av oppgaver med problemløsning som "
"krever felles innsats.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:896
msgid ""
"Hardin failed to consider the actual social dynamic of the commons. His "
"model assumed that people in the commons act autonomously, out of pure self-"
"interest, without interaction or consideration of others. But as Ostrom "
"found, in reality, managing common resources together forms a community and "
"encourages discourse. This naturally generates norms and rules that help "
"people work collectively and ensure a sustainable commons. Paradoxically, "
"while Hardin’s essay is called The Tragedy of the Commons it might more "
"accurately be titled The Tragedy of the Market."
msgstr ""
"Hardin mislyktes i å vurdere den faktiske sosiale dynamikken ved felleseie. "
"Hans modell antok at folk i allemannseier handler uavhengig av hverandre, i "
"ren egeninteresse, uten interaksjon eller hensyn til andre. Som Ostrom fant, "
"i virkeligheten, er det å håndtere felles ressurser sammen, noe som danner "
"et fellesskap og oppfordrer til meningsutveksling. Dette generer naturligvis "
"normer og regler som hjelper folk å arbeide sammen, og sikre et bærekraftig "
"felleseie. Paradoksalt nok, mens Hardins essay kalles Allmenningens "
"tragedie, burde det kanskje mer nøyaktig hatt tittelen Markedets tragedie."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:912
#, fuzzy
msgid ""
"Farley and Kubiszewski, <quote>Economics of Information,</quote> in Elliott "
"and Hepting, Free Knowledge, 203."
msgstr ""
"Farley og Kubiszewski, <quote>Economics of Information</quote>, i Elliott og "
"Hepting, Free Knowledge, 203."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:908
msgid ""
"Hardin’s story is based on the premise of depletable resources.  Economists "
"have focused almost exclusively on scarcity-based markets. Very little is "
"known about how abundance works.<placeholder type=\"footnote\" id=\"0\"/> "
"The emergence of information technology and the Internet has led to an "
"explosion in digital resources and new means of sharing and distribution. "
"Digital resources can never be depleted. An absence of a theory or model for "
"how abundance works, however, has led the market to make digital resources "
"artificially scarce and makes it possible for the usual market norms and "
"rules to be applied."
msgstr ""
"Hardins historie er basert på forutsetningen om begrensede ressurser. "
"Økonomer har fokusert nesten utelukkende på knapphetsbaserte markeder.  "
"Svært lite er kjent om virkningene av overflod.<placeholder type=\"footnote"
"\" id=\"0\"/>  Fremveksten av informasjonsteknologi og Internett har ført "
"til en eksplosjon av digitale ressurser og nye måter for deling og "
"distribusjon. De digitale ressursene kan aldri bli utarmet. Fravær av en "
"teori eller modell for hvordan overflod fungerer, har ledet markedet til å "
"innføre kunstig knapphet for digitale ressurser, noe som gjør det mulig å "
"anvende markedets vanlige normer og regler."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:924
msgid ""
"When it comes to use of state funds to create digital goods, however, there "
"is really no justification for artificial scarcity. The norm for state "
"funded digital works should be that they are freely and openly available to "
"the public that paid for them."
msgstr ""
"Når det kommer til bruk av statlige bevilgninger til å lage digitale "
"produkter, er det egentlig ingen begrunnelse for kunstig knapphet. Normen "
"for statlig finansierte digitale arbeider skal være at de er fritt og åpent "
"tilgjengelige for allmennheten som betalte for dem."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:931
#: MadewithCreativeCommonsmostup-to-dateversion.xml:938
msgid "How the market, the state and the commons look today."
msgstr "Hvordan markedet, staten og commons ser ut i dag."

#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:935
msgid "Pictures/10000201000009C400000515F1CAA15B223F6BAF.png"
msgstr "Pictures/10000201000009C400000515F1CAA15B223F6BAF.png"

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:945
msgid "The Digital Revolution"
msgstr "Den digitale revolusjonen"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:947
msgid ""
"In the early days of computing, programmers and developers learned from each "
"other by sharing software. In the 1980s, the free-software movement codified "
"this practice of sharing into a set of principles and freedoms:"
msgstr ""
"I databehandlingens tidlige dager lærte programmerere og utviklere fra "
"hverandre ved å dele programvare. På 1980-tallet formulerte fri programvare-"
"bevegelsen denne delingspraksisen i et sett prinsipper og friheter:"

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:955
msgid "The freedom to run a software program as you wish, for any purpose."
msgstr "Frihet til å kjøre et program som du ønsker, til ethvert formål."

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:961
#, fuzzy
msgid ""
"The freedom to study how a software program works (because access to the "
"source code has been freely given), and change it so it does your computing "
"as you wish."
msgstr ""
"Friheten til å studere hvordan et program fungerer (fordi tilgangen til "
"kildekoden er frigitt), og endre den så den utfører databehandlingen din "
"slik du ønsker."

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:968
msgid "The freedom to redistribute copies."
msgstr "Friheten til å videredistribuere kopier."

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:974
#, fuzzy
msgid ""
"<quote>What Is Free Software?</quote> GNU Operating System, the Free "
"Software Foundation’s Licensing and Compliance Lab, accessed December 30, "
"2016, <ulink url=\"http://www.gnu.org/philosophy/free-sw\"/>."
msgstr ""
"“What Is Free Software?” GNU Operating System, the Free Software "
"Foundation’s Licensing and Compliance Lab, besøkt 30. desember 2016, <ulink "
"url=\"http://www.gnu.org/philosophy/free-sw\"/>."

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:973
#, fuzzy
msgid ""
"The freedom to distribute copies of your modified versions to others."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Friheten til å distribuere kopier av dine modifiserte versjoner til andre."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:983
msgid ""
"These principles and freedoms constitute a set of norms and rules that "
"typify a digital commons."
msgstr ""
"Disse prinsippene og frihetene utgjør et sett normer og regler som "
"karakteriserer et digitalt felleseie."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:998
#, fuzzy
#| msgid ""
#| "Wikipedia, s.v. “Open-source software,” last modified November 22, 2016."
msgid ""
"Wikipedia, s.v. <quote>Open-source software,</quote> last modified November "
"22, 2016."
msgstr "Wikipedia, s.v. “Open-source software,” sist endret 22. november 2016."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:987
#, fuzzy
msgid ""
"In the late 1990s, to make the sharing of source code and collaboration more "
"appealing to companies, the open-source-software initiative converted these "
"principles into licenses and standards for managing access to and "
"distribution of software. The benefits of open source—such as reliability, "
"scalability, and quality verified by independent peer review—became widely "
"recognized and accepted. Customers liked the way open source gave them "
"control without being locked into a closed, proprietary technology. Free and "
"open-source software also generated a network effect where the value of a "
"product or service increases with the number of people using it.<placeholder "
"type=\"footnote\" id=\"0\"/> The dramatic growth of the Internet itself owes "
"much to the fact that nobody has a proprietary lock on core Internet "
"protocols."
msgstr ""
"Sent på 90-tallet, for å gjøre deling av kildekode og samarbeid mer "
"tiltrekkende for selskaper, konverterte åpen-kildekodeprogramvare-"
"initiativet prinsippene til lisenser og standarder for å håndtere tilgang "
"til og distribusjon av programvare. Fordelene av fri programvare - som "
"pålitelighet, skalerbarhet og kvalitet kontrollert av uavhengige "
"fagfellevurderinger, ble anerkjent og akseptert. Kundene likte måten fri "
"programvare ga dem kontroll uten å bli låst inn i en lukket, proprietær "
"teknologi. Fri programvare genereres også en nettverkseffekt der verdien av "
"et produkt eller tjeneste øker med antall personer som bruker det."
"<placeholder type=\"footnote\" id=\"0\"/>  Den dramatiske veksten i selve "
"Internettet skyldes mye det faktum at ingen har en proprietær lås på "
"sentrale Internett-protokoller."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1013
#, fuzzy
msgid ""
"Eric S. Raymond, <quote>The Magic Cauldron,</quote> in The Cathedral and the "
"Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary, "
"rev. ed. (Sebastopol, CA: O’Reilly Media, 2001), <ulink url=\"http://www."
"catb.org/esr/writings/cathedral-bazaar/\"/>."
msgstr ""
"Eric S. Raymond, “The Magic Cauldron,” i The Cathedral and the Bazaar: "
"Musings on Linux and Open Source by an Accidental Revolutionary, revidert "
"utgave (Sebastopol, CA: O’Reilly Media, 2001), <ulink url=\"http://www.catb."
"org/esr/writings/cathedral-bazaar/\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1005
#, fuzzy
msgid ""
"While open-source software functions as a commons, many businesses and "
"markets did build up around it. Business models based on the licenses and "
"standards of open-source software evolved alongside organizations that "
"managed software code on principles of abundance rather than scarcity. Eric "
"Raymond’s essay <quote>The Magic Cauldron</quote> does a great job of "
"analyzing the economics and business models associated with open-source "
"software.<placeholder type=\"footnote\" id=\"0\"/> These models can provide "
"examples of sustainable approaches for those Made with Creative Commons."
msgstr ""
"Mens fri programvare fungerer som et felleseie, bygd med mange bedrifter og "
"markeder rundt seg. Forretningsmodeller basert på lisenser og standarder for "
"fri programvare utviklet seg sammen med organisasjoner som håndterte "
"programvarekode med prinsippene om overflod i stedet for knapphet. Eric "
"Raymonds essay <quote>The Magic Cauldron</quote> gjør en stor jobb med å "
"analysere økonomi- og forretningsmodellene forbundet med fri programvare."
"<placeholder type=\"footnote\" id=\"0\"/> Disse modellene kan gi eksempler "
"på bærekraftige tilnærminger for dem laget med Creative Commons."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1022
msgid ""
"It isn’t just about an abundant availability of digital assets but also "
"about abundance of participation. The growth of personal computing, "
"information technology, and the Internet made it possible for mass "
"participation in producing creative works and distributing them. Photos, "
"books, music, and many other forms of digital content could now be readily "
"created and distributed by almost anyone. Despite this potential for "
"abundance, by default these digital works are governed by copyright laws. "
"Under copyright, a digital work is the property of the creator, and by law "
"others are excluded from accessing and using it without the creator’s "
"permission."
msgstr ""
"Det handler ikke bare om en rikelig tilgjengelighet til digitale ressurser, "
"men også om deltakelse i overflod. Framveksten av personlig datamaskineri, "
"informasjonsteknologi og Internett gjorde massedeltakelse i produksjon av "
"kreative arbeider, og distribusjonen av dem mulig. Bilder, bøker, musikk og "
"mange andre typer digitalt innhold kan følgelig lett opprettes og "
"distribueres av nær sagt alle. Til tross for dette overflodspotensialet, er "
"disse digitale arbeidene som forvalg underlagt lovgivning om opphavsrett. "
"Opphavsretten i lovlig forstand stipulerer at så snart et digitalt arbeid er "
"laget, tilfaller det kopirettshaverens eie alene, der andre ekskluderes til "
"å bruke det, uten gitt tillatelse."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1041
#, fuzzy
msgid ""
"New York Times Customer Insight Group, The Psychology of Sharing: Why Do "
"People Share Online? (New York: New York Times Customer Insight Group, "
"2011), <ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."
msgstr ""
"New York Times Customer Insight Group, The Psychology of Sharing: Why Do "
"People Share Online? (New York: New York Times Customer Insight Group, "
"2011), <ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1035
msgid ""
"But people like to share. One of the ways we define ourselves is by sharing "
"valuable and entertaining content. Doing so grows and nourishes "
"relationships, seeks to change opinions, encourages action, and informs "
"others about who we are and what we care about. Sharing lets us feel more "
"involved with the world.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Én måte folk liker å dele av seg selv er det innholdsmessiges verdi og "
"underholdende oppfatning av hva de er. Dette nærer fremvekst av relasjoner, "
"i søken etters meningers endring, oppmuntring til gjøren, etterlatende "
"omverdenen informert om hvem vi er og hva vi bryr oss om. Deling medfører "
"følt involvering i verden.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1049
msgid "The Birth of Creative Commons"
msgstr "Creative Commons blir til"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1051
msgid ""
"In 2001, Creative Commons was created as a nonprofit to support all those "
"who wanted to share digital content. A suite of Creative Commons licenses "
"was modeled on those of open-source software but for use with digital "
"content rather than software code. The licenses give everyone from "
"individual creators to large companies and institutions a simple, "
"standardized way to grant copyright permissions to their creative work."
msgstr ""
"I 2001 ble Creative Commons opprettet som veldedig organisasjon til støtte "
"for alle de som ønsket å dele digitalt innhold. En pakke med Creative "
"Commons-lisenser tok modell av de for fri programvare, men til bruk for "
"digitalt innhold i stedet for programvarekode. Lisensene gir alle, fra "
"individuelle skapere til store selskaper og institusjoner, en enkel "
"standardisert måte å innvilge opphavsrettstillatelser til sitt skapende "
"arbeid."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1071
#, fuzzy
msgid ""
"<quote>Licensing Considerations,</quote> Creative Commons, accessed December "
"30, 2016, <ulink url=\"http://creativecommons.org/share-your-work/licensing-"
"considerations/\"/>."
msgstr ""
"“Licensing Considerations,” Creative Commons, vist 30. desember, 2016, "
"<ulink url=\"http://creativecommons.org/share-your-work/licensing-"
"considerations/\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1060
msgid ""
"Creative Commons licenses have a three-layer design. The norms and rules of "
"each license are first expressed in full legal language as used by lawyers. "
"This layer is called the legal code. But since most creators and users are "
"not lawyers, the licenses also have a commons deed, expressing the "
"permissions in plain language, which regular people can read and quickly "
"understand. It acts as a user-friendly interface to the legal-code layer "
"beneath. The third layer is the machine-readable one, making it easy for the "
"Web to know a work is Creative Commons–licensed by expressing permissions in "
"a way that software systems, search engines, and other kinds of technology "
"can understand.<placeholder type=\"footnote\" id=\"0\"/> Taken together, "
"these three layers ensure creators, users, and even the Web itself "
"understand the norms and rules associated with digital content in a commons."
msgstr ""
"Creative Commons-lisenser har en tre-lags design. Normer og regler for hver "
"lisens uttrykkes først fullt ut i det juridiske språket brukt av advokater. "
"Dette kalles den juridiske lisensteksten. Siden de fleste bidragsytere og "
"brukere ikke er advokater, har lisensene også en commons-avtaletekst, som "
"uttrykker tillatelsene på forståelig vis, som folk flest raskt kan lese og "
"forstå. Det fungerer som et brukervennlig grensesnitt til den underliggende "
"juridiske . Det tredje laget er den maskinlesbare, som gjør det enkelt for "
"Internettet å vite om et arbeid har en Creative Commons-lisens ved å "
"uttrykke tillatelser på en måte som programvaresystemer, søkemotorer og "
"andre typer teknologi kan forstå.<placeholder type=\"footnote\" id=\"0\"/>  "
"Sett samlet sikrer disse tre lagene at skaperne, brukere, og nettområdet "
"selv forstår normer og regler for digitalt innhold i et allemannseie."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1079
#, fuzzy
msgid ""
"In 2015, there were over one billion Creative Commons licensed works in a "
"global commons. These works were viewed online 136 billion times. People are "
"using Creative Commons licenses all around the world, in thirty-four "
"languages. These resources include photos, artwork, research articles in "
"journals, educational resources, music and other audio tracks, and videos."
msgstr ""
"I 2015 fantes det over en milliard Creative Common-lisensiserte arbeider "
"globalt. Disse arbeidene ble vist på nettet 136 milliarder ganger. Folk "
"bruker Creative Commons-lisenser over hele verden, på 34 språk. Disse "
"ressursene inkluderer bilder, illustrasjoner, forskningsartikler i "
"tidsskrifter, pedagogiske ressurser, musikk og andre lydspor, samt videoer."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1092
#, fuzzy
msgid ""
"Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative "
"Commons, 2015), <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."
msgstr ""
"Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative "
"Commons, 2015), <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1087
msgid ""
"Individual artists, photographers, musicians, and filmmakers use Creative "
"Commons, but so do museums, governments, creative industries, manufacturers, "
"and publishers. Millions of websites use CC licenses, including major "
"platforms like Wikipedia and Flickr and smaller ones like blogs.<placeholder "
"type=\"footnote\" id=\"0\"/> Users of Creative Commons are diverse and cut "
"across many different sectors. (Our case studies were chosen to reflect that "
"diversity.)"
msgstr ""
"Individuelle kunstnere, fotografer, musikere og filmskapere bruker Creative "
"Commons, men det gjør også museer, regjeringer, kreative næringer, "
"produsenter og forleggere. Millioner av nettsteder bruker CC-lisenser, "
"inkludert store plattformer som Wikipedia og Flickr, og mindre slik som "
"blogger.<placeholder type=\"footnote\" id=\"0\"/> Bruken av Creative Commons "
"er mangeslugen, og går på tvers av mange ulike sektorer. (Våre "
"referanseløsninger ble valgt for å reflektere dette mangfoldet.)"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1100
msgid ""
"Some see Creative Commons as a way to share a gift with others, a way of "
"getting known, or a way to provide social benefit.  Others are simply "
"committed to the norms associated with a commons. And for some, "
"participation has been spurred by the free-culture movement, a social "
"movement that promotes the freedom to distribute and modify creative works. "
"The free-culture movement sees a commons as providing significant benefits "
"compared to restrictive copyright laws. This ethos of free exchange in a "
"commons aligns the free-culture movement with the free and open-source "
"software movement."
msgstr ""
"Noen ser Creative Commons som en måte å dele en gave med andre, en måte for "
"å bli kjent, eller en måte å gi eller dra en sosial fordel på eller av. "
"Andre er bare forpliktet i forhold til normene knyttet til et allemannseie. "
"For noen er deltakelsen ansporet fri kultur-bevegelsen, en sosial bevegelse "
"som fremmer friheten til å distribuere og endre kreative arbeider. Fri "
"kultur-bevegelsen ser at allemannseie gir viktige fordeler sammenlignet med "
"restriktive lover om opphavsrett. I denne grunnholdning til fri utveksling i "
"en allmenning samstemmer fri kultur-bevegelsen med fri programvare-"
"bevegelsen."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1112
#, fuzzy
msgid ""
"Over time, Creative Commons has spawned a range of open movements, including "
"open educational resources, open access, open science, and open data. The "
"goal in every case has been to democratize participation and share digital "
"resources at no cost, with legal permissions for anyone to freely access, "
"use, and modify."
msgstr ""
"Over tid, har Creative Commons avfødt en hel rekke med åpne bevegelser, "
"inkludert åpne pedagogiske ressurser, åpen tilgang, åpen vitenskap og åpne "
"data. Målet har i alle tilfeller vært å demokratisere deltakelse, og dele "
"digitale ressurser kostnadsfritt, med juridiske tillatelser for alle til "
"fritt å ha tilgang, bruke, og endre."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1125
#, fuzzy
msgid ""
"Wikipedia, s.v. <quote>Open Government Partnership,</quote> last modified "
"September 24, 2016, <ulink url=\"http://en.wikipedia.org/wiki/"
"Open_Government_Partnership\"/>."
msgstr ""
"Wikipedia, s.v. “Open Government Partnership,” sist endret 24 september "
"2016, <ulink url=\"http://en.wikipedia.org/wiki/Open_Government_Partnership"
"\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1120
msgid ""
"The state is increasingly involved in supporting open movements.  The Open "
"Government Partnership was launched in 2011 to provide an international "
"platform for governments to become more open, accountable, and responsive to "
"citizens. Since then, it has grown from eight participating countries to "
"seventy.<placeholder type=\"footnote\" id=\"0\"/> In all these countries, "
"government and civil society are working together to develop and implement "
"ambitious open-government reforms. Governments are increasingly adopting "
"Creative Commons to ensure works funded with taxpayer dollars are open and "
"free to the public that paid for them."
msgstr ""
"Staten er i økende grad involvert i å støtte åpne bevegelser. The Open "
"Government Partnership (åpent regjeringspartnerskap) ble lansert i 2011 for "
"å gi en regjeringer en internasjonal plattform til å bli mer åpne, "
"ansvarlige og mottakelige ovenfor deres innbyggere. Siden da har det vokst "
"fra åtte deltakerland til sytti.<placeholder type=\"footnote\" id=\"0\"/> I "
"alle disse landene arbeider regjering og det sivile samfunn sammen om å "
"utvikle og implementere ambisiøse åpen-regjering-reformer (offentlige "
"reformer). Regjeringer bruker i økende grad Creative Commons for å sikre at "
"arbeid finansiert av skattebetalerne er åpent og gratis for det publikum som "
"betalte for dem."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1136
msgid "The Changing Market"
msgstr "Markedet i forandring"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1144
#, fuzzy
msgid "Capra and Mattei, Ecology of Law, 114."
msgstr "Capra og Mattei, Ecology of Law, 114."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1152
#, fuzzy
msgid "Ibid., 116."
msgstr "Ibid., 116."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1138
msgid ""
"Today’s market is largely driven by global capitalism. Law and financial "
"systems are structured to support extraction, privatization, and corporate "
"growth. A perception that the market is more efficient than the state has "
"led to continual privatization of many public natural resources, utilities, "
"services, and infrastructures.<placeholder type=\"footnote\" id=\"0\"/> "
"While this system has been highly efficient at generating consumerism and "
"the growth of gross domestic product, the impact on human well-being has "
"been mixed. Offsetting rising living standards and improvements to health "
"and education are ever-increasing wealth inequality, social inequality, "
"poverty, deterioration of our natural environment, and breakdowns of "
"democracy.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Dagens marked er i stor grad drevet av global kapitalisme. Lov og "
"finanssystemer er strukturert til støtte i inntjening, privatisering og "
"bedrifters vekst. En oppfatning om at markedet er mer effektivt enn det "
"offentlige, har ført til en kontinuerlig privatisering av mange offentlige "
"ressurser, hjelpemidler, tjenester og infrastruktur.<placeholder type="
"\"footnote\" id=\"0\"/> Mens dette systemet har vært svært effektivt til "
"generering av forbruk og vekst i bruttonasjonalproduktet, har innvirkningen "
"på menneskets trivsel vært blandet. Motstykket til økende levestandard og "
"forbedringer i helse og utdanning er stadig økende ulikheter i rikdom, "
"sosial ulikhet, fattigdom, forverring av vårt naturlige miljø, og "
"demokratiske sammenbrudd.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1162
#, fuzzy
msgid ""
"The Swedish International Development Cooperation Agency, <quote>Stockholm "
"Statement</quote> accessed February 15, 2017, <ulink url=\"http://sida.se/"
"globalassets/sida/eng/press/stockholm-statement.pdf\"/>"
msgstr ""
"The Swedish International Development Cooperation Agency, “Stockholm "
"Statement” vist 15. februar, 2017, <ulink url=\"http://sida.se/globalassets/"
"sida/eng/press/stockholm-statement.pdf\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1156
msgid ""
"In light of these challenges there is a growing recognition that GDP growth "
"should not be an end in itself, that development needs to be socially and "
"economically inclusive, that environmental sustainability is a requirement "
"not an option, and that we need to better balance the market, state and "
"community.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"I lys av disse utfordringene er det en voksende anerkjennelse av at BNP-"
"vekst ikke bør være et mål i seg selv, at utvikling trenger å være sosialt "
"og økonomisk inkluderende, at miljømessig bærekraft er en forutsetning og "
"ikke et alternativ, og at vi trenger å balansere marked, stat og samfunn "
"bedre.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1174
#, fuzzy
msgid ""
"City of Bologna, Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory "
"for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014), "
"<ulink url=\"http://www.labgov.it/wp-content/uploads/sites/9/Bologna-"
"Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-"
"regeneration-of-urban-commons1.pdf\"/>."
msgstr ""
"City of Bologna, Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory "
"for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014), "
"<ulink url=\"http://www.labgov.it/wp-content/uploads/sites/9/Bologna-"
"Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-"
"regeneration-of-urban-commons1.pdf\"/>."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1184
#, fuzzy
msgid ""
"The Seoul Sharing City website is <ulink url=\"http://english.sharehub.kr\"/"
">; for Amsterdam Sharing City, go to <ulink url=\"http://www.sharenl.nl/"
"amsterdam-sharing-city/\"/>."
msgstr ""
"Seoul Sharing Citys nettside ligger her <ulink url=\"http://english.sharehub."
"kr\"/>; for Amsterdam Sharing City, gå til <ulink url=\"http://www.sharenl."
"nl/amsterdam-sharing-city/\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1169
msgid ""
"These realizations have led to a resurgence of interest in the commons as a "
"means of enabling that balance. City governments like Bologna, Italy, are "
"collaborating with their citizens to put in place regulations for the care "
"and regeneration of urban commons.<placeholder type=\"footnote\" id=\"0\"/> "
"Seoul and Amsterdam call themselves <quote>sharing cities,</quote> looking "
"to make sustainable and more efficient use of scarce resources. They see "
"sharing as a way to improve the use of public spaces, mobility, social "
"cohesion, and safety.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Disse erkjennelser har ført til fornyet interesse i allemannseiets "
"muliggjøring av en slik balanse. Byregjeringer, som italienske Bologna, "
"samarbeider med sine innbyggere om omsorgsmessig forskrift og modernisering "
"av bymessige felleseier.<placeholder type=\"footnote\" id=\"0\"/> Seoul og "
"Amsterdam kaller seg <quote>delingsbyer</quote>, når de søker å få til "
"bærekraftig og mer effektiv bruk av knappe ressurser. De ser deling som en "
"måte å forbedre bruken av det offentlige rom, mobilitet, sosialt samhold og "
"sikkerhet.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1201
#, fuzzy
msgid ""
"Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR "
"Books, 2015), 42."
msgstr ""
"Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR "
"Books, 2015), 42."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1191
msgid ""
"The market itself has taken an interest in the sharing economy, with "
"businesses like Airbnb providing a peer-to-peer marketplace for short-term "
"lodging and Uber providing a platform for ride sharing. However, Airbnb and "
"Uber are still largely operating under the usual norms and rules of the "
"market, making them less like a commons and more like a traditional business "
"seeking financial gain. Much of the sharing economy is not about the commons "
"or building an alternative to a corporate-driven market economy; it’s about "
"extending the deregulated free market into new areas of our lives."
"<placeholder type=\"footnote\" id=\"0\"/> While none of the people we "
"interviewed for our case studies would describe themselves as part of the "
"sharing economy, there are in fact some significant parallels. Both the "
"sharing economy and the commons make better use of asset capacity. The "
"sharing economy sees personal residents and cars as having latent spare "
"capacity with rental value. The equitable access of the commons broadens and "
"diversifies the number of people who can use and derive value from an asset."
msgstr ""
"Markedet selv har vært interessert i delingsøkonomi, med bedrifter som "
"Airbnb har latt bygge et peer-to-peer marked (P2P: likemannsnettverk) for "
"kortvarig overnatting, og Uber, en plattform for deling av bilturer. Airbnb "
"og Uber opererer imidlertid fortsatt i stor grad innenfor vanlige normer og "
"regler i et marked, noe som gjør dem mindre som en felleseier, og mer å "
"forstå som tradisjonell virksomhet i søken etter inntjening. Mye av "
"delingsøkonomien handler ikke om allemannseier, eller det å bygge et "
"alternativ til bedriftsdrevet markedsøkonomi: Det handler om å utvide det "
"deregulerte frie markedet til nye områder i våre liv.<placeholder type="
"\"footnote\" id=\"0\"/> Mens ingen av de vi intervjuet for våre "
"referanseløsninger ville beskrive seg selv som en del av delingsøkonomien, "
"er det faktisk noen viktige paralleller. Både delingsøkonomi og allmenneie "
"gjør bedre bruk av eiendelens kapasitet. Delingsøkonomien ser på personlig "
"beboere og biler å ha en latent ekstra kapasitet med utleieverdi. Rettferdig "
"tilgang på felleseier utvider og diversifiserer (spre, fordele på ) antall "
"personer som kan bruke og få verdi ut av en eiendel."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1223
#, fuzzy
msgid ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, Reprint with new preface.  (New York: Hyperion, "
"2010), 78."
msgstr ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, Reprint with new preface (New York: Hyperion, 2010), "
"224."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1213
#, fuzzy
msgid ""
"One way Made with Creative Commons case studies differ from those of the "
"sharing economy is their focus on digital resources. Digital resources "
"function under different economic rules than physical ones. In a world where "
"prices always seem to go up, information technology is an anomaly. Computer-"
"processing power, storage, and bandwidth are all rapidly increasing, but "
"rather than costs going up, costs are coming down. Digital technologies are "
"getting faster, better, and cheaper. The cost of anything built on these "
"technologies will always go down until it is close to zero.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Én måte <quote>Made with Creative Commons</quote> (Laget med Creative "
"Commons) -referansestudier skiller seg fra delingsøkonomien på, er fokuset "
"på digitale ressurser. De er underlagt ulike økonomiske forhold enn de "
"fysiske. I en verden hvor prisene alltid synes å gå opp, er "
"informasjonsteknologi et avvik. Databehandlingsmakt, lagringsplass og "
"båndbredde er alle raskt økende, men heller enn at kostnadene går opp, går "
"kostnadene ned. Digital teknologi blir raskere, bedre og billigere. "
"Kostnaden for noe som bygger på disse teknologiene vil alltid gå ned til nær "
"null.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1229
msgid ""
"Those that are Made with Creative Commons are looking to leverage the unique "
"inherent characteristics of digital resources, including lowering costs. The "
"use of digital-rights-management technologies in the form of locks, "
"passwords, and controls to prevent digital goods from being accessed, "
"changed, replicated, and distributed is minimal or nonexistent. Instead, "
"Creative Commons licenses are used to put digital content out in the "
"commons, taking advantage of the unique economics associated with being "
"digital. The aim is to see digital resources used as widely and by as many "
"people as possible. Maximizing access and participation is a common goal.  "
"They aim for abundance over scarcity."
msgstr ""
"De som lager med Creative Commons søker å utnytte digitale ressursers unike "
"iboende egenskaper, inkludert det å senke kostnadene. Bruken av digitale "
"rettighetshåndterte teknologier i form av låser, passord og kontroller for å "
"hindre at digitale produkter blir tilgjengelige, endret, kopiert og "
"distribuert, er minimal eller ikke-eksisterende. I stedet brukes Creative "
"Commons-lisenser til å forvalte digitalt innhold i felleseie, og fordelen "
"ved den unike økonomi knyttet til å være digital. Målet er å oppnå at "
"digitale ressurser brukes i størst mulig utstrekning. Maksimert tilgang og "
"deltakelse er et felles mål. Deres mål er overflod fremfor knapphet."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1248
#, fuzzy
msgid ""
"Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave "
"Macmillan, 2014), 273."
msgstr ""
"Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave "
"Macmillan, 2014), 273."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1243
#, fuzzy
msgid ""
"The incremental cost of storing, copying, and distributing digital goods is "
"next to zero, making abundance possible. But imagining a market based on "
"abundance rather than scarcity is so alien to the way we conceive of "
"economic theory and practice that we struggle to do so.<placeholder type="
"\"footnote\" id=\"0\"/> Those that are Made with Creative Commons are each "
"pioneering in this new landscape, devising their own economic models and "
"practice."
msgstr ""
"Den trinnvise kostnaden ved lagring, kopiering og distribusjon av digitale "
"produkter er nesten null, og gjør overflod mulig. Å forestille seg et marked "
"basert mer på overflod snarere enn knapphet, er i økonomisk teori og praksis "
"fremmed.<placeholder type=\"footnote\" id=\"0\"/> Det som er laget med "
"Creative Commons er banebrytende i dette nye landskapet, og former sine egne "
"økonomiske modeller og praksiser."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1256
msgid ""
"Some are looking to minimize their interactions with the market and operate "
"as autonomously as possible. Others are operating largely as a business "
"within the existing rules and norms of the market. And still others are "
"looking to change the norms and rules by which the market operates."
msgstr ""
"Noen ønsker å minimere sin samhandling med markedet og operere så "
"selvstendig som mulig. Andre opererer hovedsakelig som en virksomhet "
"innenfor eksisterende regler og normer for markedet. Og andre igjen, søker "
"muligheten til å endre de normer og regler markedet fungerer etter."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1270
#, fuzzy
msgid ""
"Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American "
"Revolution: Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39."
msgstr ""
"Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American "
"Revolution: Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1279
#, fuzzy
msgid ""
"Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012), 8–9."
msgstr ""
"Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012), 8–9."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1263
msgid ""
"For an ordinary corporation, making social benefit a part of its operations "
"is difficult, as it’s legally required to make decisions that financially "
"benefit stockholders. But new forms of business are emerging. There are "
"benefit corporations and social enterprises, which broaden their business "
"goals from making a profit to making a positive impact on society, workers, "
"the community, and the environment.<placeholder type=\"footnote\" id=\"0\"/> "
"Community-owned businesses, worker-owned businesses, cooperatives, guilds, "
"and other organizational forms offer alternatives to the traditional "
"corporation. Collectively, these alternative market entities are changing "
"the rules and norms of the market.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"For et vanlig aksjeselskap, er det vanskelig fremme sosiale fordeler som del "
"av sin virksomhet, siden det er lovpålagt å ta avgjørelser til økonomisk "
"fordel for dets aksjonærer. Nye former for forretningsvirksomhet vokser "
"frem. Det er veldedige sammenslutninger og sosiale foretak som utvider sine "
"forretningsmål fra å gjøre  fortjeneste til å gjøre en positiv innvirkning "
"på samfunnet, arbeidere, lokalsamfunnet og miljøet.<placeholder type="
"\"footnote\" id=\"0\"/>  Fellesskapseide og arbeidstakereide bedrifter, "
"kooperativer, laug og andre organisasjonsformer er alternativer til "
"tradisjonelle bedrifter. Samlet endrer disse alternative markedsaktørene "
"markedets regler og normer.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1291
msgid ""
"Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010). A preview of the book is available at <ulink url="
"\"http://strategyzer.com/books/business-model-generation\"/>."
msgstr ""
"Alex Osterwalder og Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010), En forhåndsvisning av boken er tilgjengelig på "
"<ulink url=\"http://strategyzer.com/books/business-model-generation\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1284
msgid ""
"<quote>A book on open business models</quote> is how we described it in this "
"book’s Kickstarter campaign. We used a handbook called Business Model "
"Generation as our reference for defining just what a business model is. "
"Developed over nine years using an <quote>open process</quote> involving 470 "
"coauthors from forty-five countries, it is useful as a framework for talking "
"about business models.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"<quote>En bok om åpne forretningsmodeller</quote> var beskrivelsen av denne "
"boken i dens kronerullingskampanje. Vi brukte en håndbok kalt "
"<quote>Business Model Generation</quote> som vår referanse i det å definere "
"hva en forretningsmodell er. Utviklet over ni år med en <quote>åpen prosess</"
"quote> med 470 medforfattere fra 45 land, er den nyttig som rammeverk i sin "
"omtale av forretningsmodeller.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1301
msgid ""
"This business model canvas is available to download at <ulink url=\"http://"
"strategyzer.com/canvas/business-model-canvas\"/>."
msgstr ""
"Dette lerretet for forretningsmodeller er tilgjengelig for nedlasting fra "
"<ulink url=\"http://strategyzer.com/canvas/business-model-canvas\"/>."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1309
#, fuzzy
#| msgid ""
#| "We’ve made the “Open Business Model Canvas,” designed by the coauthor "
#| "Paul Stacey, available online at <ulink url=\"http://docs.google.com/"
#| "drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit\"/>.  You "
#| "can also find the accompanying Open Business Model Canvas Questions at "
#| "<ulink url=\"http://docs.google.com/drawings/"
#| "d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit\"/>."
msgid ""
"We’ve made the <quote>Open Business Model Canvas,</quote> designed by the "
"coauthor Paul Stacey, available online at <ulink url=\"http://docs.google."
"com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit\"/>.  You "
"can also find the accompanying Open Business Model Canvas Questions at "
"<ulink url=\"http://docs.google.com/drawings/"
"d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit\"/>."
msgstr ""
"Vi har laget et <quote>Åpent forretningsmodellslerret</quote>, utformet av "
"medforfatter Paul Stacey, tilgjengelig på nettet fra <ulink url=\"http://"
"docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit"
"\"/>.  Du kan også finne det medfølgende \"Spørsmål om åpen forretningsmodell"
"\" fra <ulink url=\"http://docs.google.com/drawings/"
"d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1298
#, fuzzy
#| msgid ""
#| "It contains a “business model canvas,” which conceives of a business "
#| "model as having nine building blocks.<placeholder type=\"footnote\" id="
#| "\"0\"/> This blank canvas can serve as a tool for anyone to design their "
#| "own business model. We remixed this business model canvas into an open "
#| "business model canvas, adding three more building blocks relevant to "
#| "hybrid market, commons enterprises: social good, Creative Commons "
#| "license, and “type of open environment that the business fits "
#| "in.”<placeholder type=\"footnote\" id=\"1\"/> This enhanced canvas proved "
#| "useful when we analyzed businesses and helped start-ups plan their "
#| "economic model."
msgid ""
"It contains a <quote>business model canvas,</quote> which conceives of a "
"business model as having nine building blocks.<placeholder type=\"footnote\" "
"id=\"0\"/> This blank canvas can serve as a tool for anyone to design their "
"own business model. We remixed this business model canvas into an open "
"business model canvas, adding three more building blocks relevant to hybrid "
"market, commons enterprises: social good, Creative Commons license, and "
"<quote>type of open environment that the business fits in.</"
"quote><placeholder type=\"footnote\" id=\"1\"/> This enhanced canvas proved "
"useful when we analyzed businesses and helped start-ups plan their economic "
"model."
msgstr ""
"Den inneholder et <quote>lerret av forretningsmodeller</quote>, som "
"oppfatter en forretningsmodell bestående av ni byggesteiner.<placeholder "
"type=\"footnote\" id=\"0\"/>  Dette tomme lerretet kan tjene som et verktøy "
"for alle som vil lage sine egen forretningsmodell. Vi remikset det til et "
"lerret for en åpen virksomhetsmodell, og la til tre byggeklosser til, som "
"alle passer for fellesskapsbedrifter i et hybridmarked: Sosial nytte, "
"Creative Commons-lisens, og <quote>typen åpent miljø virksomheten passer i</"
"quote>.<placeholder type=\"footnote\" id=\"1\"/>  Dette forbedrede lerretet "
"viste seg nyttig i analysen av bedrifter, og hjalp gründere å planlegge sin "
"økonomiske modell."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1319
#, fuzzy
msgid ""
"In our case study interviews, many expressed discomfort over describing "
"themselves as an open business model—the term business model suggested "
"primarily being situated in the market.  Where you sit on the commons-to-"
"market spectrum affects the extent to which you see yourself as a business "
"in the market.  The more central to the mission shared resources and commons "
"values are, the less comfort there is in describing yourself, or depicting "
"what you do, as a business. Not all who have endeavors Made with Creative "
"Commons use business speak; for some the process has been experimental, "
"emergent, and organic rather than carefully planned using a predefined model."
msgstr ""
"I intervjuene i vår studie uttrykte mange ubehag over å beskrive seg selv "
"som åpen forretningsmodell – begrepet forretningsmodell foreslo primært å "
"være plassert i markedet. Hvor du er plassert i spekteret, fra felleseie – "
"til marked, påvirker i hvilken grad du ser deg selv som markedsbedrift. Jo "
"mer sentralt for oppgaven delte ressurs- og allemannseieverdier er for deg, "
"jo mindre komfortabelt er det å beskrive seg, eller vise til hva du gjør, "
"som en bedrift. Ikke alle som har oppgaver laget med Creative Commons bruker "
"forretningsspråk; for noen har prosessen heller vært eksperimentell, vokst "
"frem organisk snarere enn nøye planlagt ved hjelp av forhåndsdefinert modell."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1341
#, fuzzy
msgid ""
"A more comprehensive list of revenue streams is available in this post I "
"wrote on Medium on March 6, 2016. <quote>What Is an Open Business Model and "
"How Can You Generate Revenue?</quote>, available at <ulink url=\"http://"
"medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-"
"can-you-generate-revenue-5854d2659b15\"/>."
msgstr ""
"En mer omfattende liste over inntektsstrømmer er tilgjengelig i dette "
"innlegget jeg skrev på Medium på 6 mars 2016. “What Is an Open Business "
"Model and How Can You Generate Revenue?” (Hva er en åpen forretningsmodell, "
"og hvordan kan du skape omsetning), tilgjengelig på <ulink url=\"http://"
"medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-"
"can-you-generate-revenue-5854d2659b15\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1332
#, fuzzy
#| msgid ""
#| "The creators, businesses, and organizations we profile all engage with "
#| "the market to generate revenue in some way. The ways in which this is "
#| "done vary widely. Donations, pay what you can, memberships, “digital for "
#| "free but physical for a fee,” crowdfunding, matchmaking, value-add "
#| "services, patrons . . . the list goes on and on. (Initial description of "
#| "how to earn revenue available through reference note. For latest thinking "
#| "see How to Bring In Money in the next section.)<placeholder type="
#| "\"footnote\" id=\"0\"/> There is no single magic bullet, and each "
#| "endeavor has devised ways that work for them. Most make use of more than "
#| "one way. Diversifying revenue streams lowers risk and provides multiple "
#| "paths to sustainability."
msgid ""
"The creators, businesses, and organizations we profile all engage with the "
"market to generate revenue in some way. The ways in which this is done vary "
"widely. Donations, pay what you can, memberships, <quote>digital for free "
"but physical for a fee,</quote> crowdfunding, matchmaking, value-add "
"services, patrons . . . the list goes on and on. (Initial description of how "
"to earn revenue available through reference note. For latest thinking see "
"How to Bring In Money in the next section.)<placeholder type=\"footnote\" id="
"\"0\"/> There is no single magic bullet, and each endeavor has devised ways "
"that work for them. Most make use of more than one way. Diversifying revenue "
"streams lowers risk and provides multiple paths to sustainability."
msgstr ""
"Bidragsyterne, bedrifter og organisasjoner vi profilerer er alle engasjerte "
"i markedet for å generere omsetning på ulik måte, i stor variasjon. "
"Donasjoner, betal det du kan, medlemskap, <quote>Digitalt gratis, men fysisk "
"for betaling</quote>, folkefinansiering, matchmaking, verdiøkende tjenester, "
"beskyttere  ... listen fortsetter og fortsetter. (Første beskrivelse av "
"hvordan skaffe inntekt fremgår av referansenotis. Om seneste tenkning om "
"dette,  se  <quote>Hvordan bringe inn penger</quote> i neste "
"seksjon.)<placeholder type=\"footnote\" id=\"0\"/> Det er ingen enkel, "
"magisk formel, og hver oppgave har utviklet måter som passer for den. De "
"fleste gjør bruk av mer enn én måte. Å ha mange inntektsstrømmer reduserer "
"risikoen, og gir flere veier til bærekraft."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1353
msgid "Benefits of the Digital Commons"
msgstr "Fordelene med Digital Commons"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1355
msgid ""
"While it may be clear why commons-based organizations want to interact and "
"engage with the market (they need money to survive), it may be less obvious "
"why the market would engage with the commons. The digital commons offers "
"many benefits."
msgstr ""
"Mens det kan være klart hvorfor felleseie-baserte organisasjoner ønsker å "
"samhandle og engasjere seg med markedet (de trenger penger for å overleve), "
"kan det være mindre opplagt hvorfor markedet vil engasjere seg med "
"felleseier. Digitale allmenneier tilbyr mange fordeler."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1361
msgid ""
"The commons speeds dissemination. The free flow of resources in the commons "
"offers tremendous economies of scale. Distribution is decentralized, with "
"all those in the commons empowered to share the resources they have access "
"to. Those that are Made with Creative Commons have a reduced need for sales "
"or marketing. Decentralized distribution amplifies supply and know-how."
msgstr ""
"Felleseiene setter fart på formidlingen. Fri flyt av ressurser i felleseier "
"tilbyr enorme stordriftsfordeler. Distribusjon er desentralisert, når alle "
"de i felleseiet har myndighet til å dele ressursene de har tilgang til. Det "
"som er laget med Creative Commons har et redusert behov for salg eller "
"markedsføring. Desentralisert distribusjon forsterker leveranse og "
"ekspertise."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1370
msgid ""
"The commons ensures access to all. The market has traditionally operated by "
"putting resources behind a paywall requiring payment first before access. "
"The commons puts resources in the open, providing access up front without "
"payment. Those that are Made with Creative Commons make little or no use of "
"digital rights management (DRM) to manage resources. Not using DRM frees "
"them of the costs of acquiring DRM technology and staff resources to engage "
"in the punitive practices associated with restricting access. The way the "
"commons provides access to everyone levels the playing field and promotes "
"inclusiveness, equity, and fairness."
msgstr ""
"Commons sikrer alle tilgang. Markedets tradisjon har vært å betalingsmure "
"inn ressurser, betaling før tilgang. Felleseie åpner ressurstilgangen, "
"umiddelbar tilgang uten betaling. Laget med Creative Commons gjør lite eller "
"ingen bruk av digital tilgangsnekting (DRM – digital rights management) til "
"ressursbakstreveri.  Ved ikke å bruke DRM frigjøres kostnadene ved å "
"anskaffe DRM-teknologi og arbeidsressurser til  ervervelse av "
"straffepraksisinformasjon knyttet til adgangsbegrensning. Måten fellesskapet "
"gir tilgang til alle, gir alle én spade, fremmer inkludering, rettferdighet "
"og redelighet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1383
msgid ""
"The commons maximizes participation. Resources in the commons can be used "
"and contributed to by everyone. Using the resources of others, contributing "
"your own, and mixing yours with others to create new works are all dynamic "
"forms of participation made possible by the commons. Being Made with "
"Creative Commons means you’re engaging as many users with your resources as "
"possible.  Users are also authoring, editing, remixing, curating, "
"localizing, translating, and distributing. The commons makes it possible for "
"people to directly participate in culture, knowledge building, and even "
"democracy, and many other socially beneficial practices."
msgstr ""
"Allemannseie er deltagelsens seiersgang. Ressurser i felleseie kan brukes, "
"og er åpne for medvirkning av og med alle. Å bruke andres ressurser, bidra "
"med eget, og blande med andres for å skape nye arbeider, er alle dynamiske "
"former for deltakelse muliggjort av allmenningen. Laget med Creative Commons "
"betyr engasjering av så mange brukere av ressursene dine som mulig. Brukerne "
"godkjenner, redigerer, remikser, retter, lokaliserer, oversetter og "
"distribuerer. Felleseie gjør det mulig for folk å delta direkte i kulturer, "
"kunnskapsbygging, til og med demokrati, og mange andre former for "
"samfunnsnyttig praksis."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1405
msgid ""
"Henry Chesbrough, Open Innovation: The New Imperative for Creating and "
"Profiting from Technology (Boston: Harvard Business Review Press, 2006), 31–"
"44."
msgstr ""
"Henry Chesbrough, Open Innovation: The New Imperative for Creating and "
"Profiting from Technology (Boston: Harvard Business Review Press, 2006), 31–"
"44."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1396
msgid ""
"The commons spurs innovation. Resources in the hands of more people who can "
"use them leads to new ideas. The way commons resources can be modified, "
"customized, and improved results in derivative works never imagined by the "
"original creator. Some endeavors that are Made with Creative Commons "
"deliberately encourage users to take the resources being shared and innovate "
"them. Doing so moves research and development (R&amp;D) from being solely "
"inside the organization to being in the community.<placeholder type="
"\"footnote\" id=\"0\"/> Community-based innovation will keep an organization "
"or business on its toes. It must continue to contribute new ideas, absorb "
"and build on top of the innovations of others, and steward the resources and "
"the relationship with the community."
msgstr ""
"Allemannseie leder an til innovasjon. Ressurser flere personer i hende, som "
"evner å nytte dem, fører nye ideer med seg. Måten felleseide ressurser kan "
"endre, tilpasse, og bedrede resultatene i avledninger muliggjør arbeider "
"opphavsmannen aldri hadde forestilt seg. Noen bestrebelser i Creative "
"Commons oppfordrer bevisst brukere fornyelse av delte ressurser. Dermed "
"flyttes forskning og utvikling (R&amp;D – research and development) fra "
"utelukkende innlemmet organisasjonens virke, til fellesskapet.<placeholder "
"type=\"footnote\" id=\"0\"/>  Fellesskapsbasert innovasjon holder en "
"organisasjon eller virksomhet skjerpet. Den må fortsette å bidra med nye "
"idéer, absorbere og bygge videre på andres innovasjoner, forvalte ressursene "
"og forholdet til fellesskapet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1414
msgid ""
"The commons boosts reach and impact. The digital commons is global. "
"Resources may be created for a local or regional need, but they go far and "
"wide generating a global impact. In the digital world, there are no borders "
"between countries. When you are Made with Creative Commons, you are often "
"local and global at the same time: Digital designs being globally "
"distributed but made and manufactured locally. Digital books or music being "
"globally distributed but readings and concerts performed locally. The "
"digital commons magnifies impact by connecting creators to those who use and "
"build on their work both locally and globally."
msgstr ""
"Allemannseie øker rekkevidden og slagkraften av den. Digitalallmenningen er "
"verdensomspennende.  Ressurser kan opprettes for lokale eller regionale "
"behov, men favne vidt og bredt, og generere en global effekt. I den digitale "
"verden er det ingen grenser landene imellom. Made with Creative Commons, "
"ofte både lokal og global: Digital design distribuert globalt, men laget og "
"produsert lokalt. Digitale bøker eller musikk distribuert globalt, men "
"opplest og fremført lokalt. Digitale felleseier øker virkningen ved å koble "
"bidragsyterne allesteds hen, til dem som bruker og bygger videre på deres "
"arbeide."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1427
msgid ""
"The commons is generative. Instead of extracting value, the commons adds "
"value. Digitized resources persist without becoming depleted, and through "
"use are improved, personalized, and localized. Each use adds value. The "
"market focuses on generating value for the business and the customer. The "
"commons generates value for a broader range of beneficiaries including the "
"business, the customer, the creator, the public, and the commons itself. The "
"generative nature of the commons means that it is more cost-effective and "
"produces a greater return on investment.  Value is not just measured in "
"financial terms. Each new resource added to the commons provides value to "
"the public and contributes to the overall value of the commons."
msgstr ""
"Allmannseie er generativt. I stedet for å hente ut ut verdi, tilfører "
"allemannseie verdi. Digitaliserte ressurser blir ikke oppbrukt, men er der "
"fortsatt – og blir forbedret, gjort personlig og tilpasset lokale forhold "
"ved bruk. Hvert type bruk tilfører verdi. Markedet har fokus på å generere "
"verdi for virksomheten og kunden. Allemannseie genererer verdi for et "
"bredere spekter av mottakere inkludert virksomheten, forbrukeren, "
"innholdsleverandøren, publikum og allemannseiet selv. Allemannseiets "
"generative natur betyr at det er mer kostnadseffektivt, og gir en høyere "
"avkastning på investeringen. Verdi er ikke bare målt finansielt. Hver ny "
"ressurs som legges til allmenningen gir verdi til publikum, og bidrar til "
"den samlede verdien av allemannseiet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1441
msgid ""
"The commons brings people together for a common cause. The commons vests "
"people directly with the responsibility to manage the resources for the "
"common good. The costs and benefits for the individual are balanced with the "
"costs and benefits for the community and for future generations. Resources "
"are not anonymous or mass produced. Their provenance is known and "
"acknowledged through attribution and other means. Those that are Made with "
"Creative Commons generate awareness and reputation based on their "
"contributions to the commons. The reach, impact, and sustainability of those "
"contributions rest largely on their ability to forge relationships and "
"connections with those who use and improve them. By functioning on the basis "
"of social engagement, not monetary exchange, the commons unifies people."
msgstr ""
"Allemannseier fører folk sammen for en felles sak. Allmannseier binder folk "
"sammen om ansvaret for å administrere ressursene som et felles gode. "
"Kostnader og fordeler for den enkelte balanseres med kostnader og fordeler "
"for samfunnet og for fremtidige generasjoner. Ressursene er ikke anonyme "
"eller masseproduserte. Opprinnelse er kjent og anerkjent gjennom "
"henvisninger og andre virkemidler. De som er laget med Creative Commons "
"genererer oppmerksomhet og omdømme basert på deres bidrag til fellesskapet. "
"Innflytelsen og bærekraften til disse bidragene hviler i stor grad på deres "
"evne til å etablere relasjoner og forbindelser med dem som bruker og "
"forbedrer dem. Allemannseie forener folk ved å virke ut fra sitt sosiale "
"engasjement, ikke ved utveksling av penger."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1456
msgid ""
"The benefits of the commons are many. When these benefits align with the "
"goals of individuals, communities, businesses in the market, or state "
"enterprises, choosing to manage resources as a commons ought to be the "
"option of choice."
msgstr ""
"Allmenningsfordelene er mange. Når disse knyttes sammen med enkeltpersoners "
"mål, samfunn, bedrifter i markedet, eller statlige virksomheter, burde det å "
"administrere ressurser som i felleseie være det klare alternativet."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1463
msgid "Our Case Studies"
msgstr "Våre referansestudier"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1465
msgid ""
"The creators, organizations, and businesses in our case studies operate as "
"nonprofits, for-profits, and social enterprises.  Regardless of legal "
"status, they all have a social mission.  Their primary reason for being is "
"to make the world a better place, not to profit. Money is a means to a "
"social end, not the end itself. They factor public interest into decisions, "
"behavior, and practices. Transparency and trust are really important. Impact "
"and success are measured against social aims expressed in mission "
"statements, and are not just about the financial bottom line."
msgstr ""
"I våre referanseløsninger opererer innholdsleverandører, organisasjoner og "
"bedrifter både som ideelle eller inntektsgivende organisasjoner, og som "
"sosiale foretak. Uansett rettslig status har de alle sosiale oppdrag. Deres "
"viktigste grunn til å være til, er å gjøre verden til et bedre sted, ikke "
"for fortjenesten. Penger er et middel til å nå sosiale mål, og er ikke selv "
"sluttmålet. De produserer en offentlig interesse for beslutninger, atferd og "
"praksis. Transparens (åpenhet) og tillit er svært viktig. Virkning og "
"suksess måles mot sosiale mål uttrykt i idégrunnlaget, og gjelder ikke bare "
"den finansielle bunnlinjen."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1477
msgid ""
"The case studies are based on the narratives told to us by founders and key "
"staff. Instead of solely using financials as the measure of success and "
"sustainability, they emphasized their mission, practices, and means by which "
"they measure success.  Metrics of success are a blend of how social goals "
"are being met and how sustainable the enterprise is."
msgstr ""
"Referansestudiene er basert på fortellingene vi ble fortalt av grunnleggere "
"og nøkkelpersoner. I stedet for utelukkende å ha økonomi som mål på suksess "
"og bærekraft, understreket de sin oppgave, praksis og metodene som de måler "
"suksess etter. Beregninger av suksess er en blanding av hvordan sosiale mål "
"er nådd, og hvor bærekraftig organisasjonen er."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1485
msgid ""
"Our case studies are diverse, ranging from publishing to education and "
"manufacturing. All of the organizations, businesses, and creators in the "
"case studies produce digital resources. Those resources exist in many forms "
"including books, designs, songs, research, data, cultural works, education "
"materials, graphic icons, and video. Some are digital representations of "
"physical resources. Others are born digital but can be made into physical "
"resources."
msgstr ""
"Våre referansestudier er mangfoldige, og spenner fra publisering – til "
"utdanning og produksjon. Alle organisasjoner, bedrifter, og "
"innholdsleverandører i studiene produserer digitale ressurser. Disse "
"ressursene finnes i mange former, inkludert bøker, design, sanger, "
"forskning, data, kulturelle uttrykk, undervisningsmateriell, grafiske ikoner "
"og video. Noen er digitale representasjoner av fysiske ressurser. Andre er "
"opprinnelig digitale, men kan gjøres til fysiske ressurser."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1495
msgid ""
"They are creating new resources, or using the resources of others, or mixing "
"existing resources together to make something new. They, and their audience, "
"all play a direct, participatory role in managing those resources, including "
"their preservation, curation, distribution, and enhancement. Access and "
"participation is open to all regardless of monetary means."
msgstr ""
"De skaper nye ressurser, eller bruker andres ressurser, eller kombinerer "
"eksisterende ressurser for å lage noe nytt. De, og deres publikum, har alle "
"en direkte, deltakende rolle i å håndtere disse ressursene, inkludert å ta "
"vare på, bevare, distribuere og forbedre. Tilgang og deltakelse er åpen for "
"alle uavhengig av økonomiske midler."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1503
msgid ""
"And as users of Creative Commons licenses, they are automatically part of a "
"global community. The new digital commons is global. Those we profiled come "
"from nearly every continent in the world. To build and interact within this "
"global community is conducive to success."
msgstr ""
"Som brukere av Creative Commons-lisenser, er de automatisk en del av et "
"globalt samfunn. De nye digitale allmenneiene er globale. De vi har løftet "
"frem, kommer fra nesten alle verdens kontinenter. Å bygge og samhandle i "
"dette globale samfunnet leder til suksess."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1510
msgid ""
"Creative Commons licenses may express legal rules around the use of "
"resources in a commons, but success in the commons requires more than "
"following the letter of the law and acquiring financial means. Over and over "
"we heard in our interviews how success and sustainability are tied to a set "
"of beliefs, values, and principles that underlie their actions: Give more "
"than you take. Be open and inclusive. Add value. Make visible what you are "
"using from the commons, what you are adding, and what you are monetizing. "
"Maximize abundance. Give attribution. Express gratitude. Develop trust; "
"don’t exploit. Build relationship and community. Be transparent. Defend the "
"commons."
msgstr ""
"Creative Commons-lisenser kan uttrykke juridiske regler rundt bruken av "
"ressurser i en allmenning, men suksess i felleseier krever mer enn å følge "
"lovens bokstav og skaffe økonomiske midler. Igjen og igjen hørte vi i våre "
"intervjuer hvordan suksess og bærekraft er knyttet til et sett av tro, "
"verdier og prinsipper som ligger til grunn for deres handlinger: Gi mer enn "
"du tar. Være åpen og inkluderende. Legge til verdi. Gjør synlig hva du "
"bruker fra felleseier, og hva du legger til, og hva som er økonomisk. "
"Maksimere overfloden. Henvis. Vis takknemlighet. Utvikle tillit; ikke "
"utnytt. Bygg relasjoner og samfunn. Være transparent (åpen). Forsvar "
"allmenneier."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1523
msgid ""
"The new digital commons is here to stay. Made With Creative Commons case "
"studies show how it’s possible to be part of this commons while still "
"functioning within market and state systems.  The commons generates benefits "
"neither the market nor state can achieve on their own. Rather than the "
"market or state dominating as primary means of resource management, a more "
"balanced alternative is possible."
msgstr ""
"Nye digitale felleseier er her for å bli. Referansestudiene om Made with "
"Creative Commons viser hvordan det er mulig å være del av dette felleseiet "
"mens en fortsatt er i markedet og i statlige systemer. Allmenneie genererer "
"fordeler verken markedet eller staten kan oppnå på egen hånd. Heller enn at "
"markedet eller staten dominerer som primærinstans for ressursforvaltning, så "
"er et mer balansert alternativ mulig."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1532
msgid ""
"Enterprise use of Creative Commons has only just begun. The case studies in "
"this book are merely starting points. Each is changing and evolving over "
"time. Many more are joining and inventing new models. This overview aims to "
"provide a framework and language for thinking and talking about the new "
"digital commons. The remaining sections go deeper providing further guidance "
"and insights on how it works."
msgstr ""
"Bedriftenes bruk av Creative Commons har bare såvidt begynt. Case-studiene i "
"denne boken er bare startpunktet. De er i endring, og utvikles over tid. "
"Mange kommer med, og finner nye modeller. Denne oversikten har som mål å gi "
"rammeverk og språk for å tenke og snakke om nye digitale felleseier. De "
"påfølgende kapitlene går dypere inn, og gir ytterligere veiledning og "
"innsikt i hvordan dette virker."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1543
msgid "How to Be Made with Creative Commons"
msgstr "Hvordan bli laget med Creative Commons"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1545
msgid "Sarah Hinchliff Pearson"
msgstr "Sarah Hinchliff Pearson"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1548
msgid ""
"When we began this project in August 2015, we set out to write a book about "
"business models that involve Creative Commons licenses in some significant "
"way—what we call being Made with Creative Commons. With the help of our "
"Kickstarter backers, we chose twenty-four endeavors from all around the "
"world that are Made with Creative Commons. The mix is diverse, from an "
"individual musician to a university-textbook publisher to an electronics "
"manufacturer.  Some make their own content and share under Creative Commons "
"licensing. Others are platforms for CC-licensed creative work made by "
"others. Many sit somewhere in between, both using and contributing creative "
"work that’s shared with the public. Like all who use the licenses, these "
"endeavors share their work—whether it’s open data or furniture designs—in a "
"way that enables the public not only to access it but also to make use of it."
msgstr ""
"Da vi startet dette prosjektet i August 2015, startet vi for å skrive en bok "
"om forretningsmodeller som i noe omfang involverer Creative Commons-lisenser "
"– det vi kaller Made with Creative Commons. Ved hjelp av våre Kickstarter-"
"støttespillere valgte vi tjuefire arbeidsopplegg fra hele verden laget med "
"Creative Commons. Blandingen er variert, fra en enkelt musiker til en "
"utgiver av lærebøker for universitetet, over til en elektronikkprodusent. "
"Noen lager sitt eget innhold og deler under Creative Commons-lisensiering. "
"Andre er plattformer for CC-lisensierte kreative arbeider gjort av andre. "
"Mange sitter et sted imellom både som bruker og som bidragsyter til skapende "
"arbeid som er delt med offentligheten. Som for alle som bruker lisensene, er "
"disse oppleggene for å dele sitt arbeid – enten det er åpne dataprogrammer "
"eller møbeldesign – på en måte som gjør at offentligheten ikke bare å får "
"tilgang til dem, men også å kan bruke dem."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1564
msgid ""
"We analyzed the revenue models, customer segments, and value propositions of "
"each endeavor. We searched for ways that putting their content under "
"Creative Commons licenses helped boost sales or increase reach. Using "
"traditional measures of economic success, we tried to map these business "
"models in a way that meaningfully incorporated the impact of Creative "
"Commons. In our interviews, we dug into the motivations, the role of CC "
"licenses, modes of revenue generation, definitions of success."
msgstr ""
"Vi analyserte inntektsmodeller, kundesegmenter og forslag til verdier for "
"hver oppgave. Vi søkte etter måter som, ved å sette innholdet under Creative "
"Commons-lisenser, hjalp til å øke salget eller øke utbredelsen. Ved å  bruke "
"tradisjonelle tiltak for økonomisk suksess, prøvde vi å kartlegge disse "
"forretningsmodellene på en måte slik at de meningsfullt  inneholdt en "
"hensiktsmessig innvirkning av Creative Commons. I våre intervjuer gikk vi "
"inn i motivasjonen, rollen CC til lisenser, ulike former for inntekter, og "
"definisjoner av suksess."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1574
msgid ""
"In fairly short order, we realized the book we set out to write was quite "
"different from the one that was revealing itself in our interviews and "
"research."
msgstr ""
"På relativt kort tid skjønte vi at boken vi gikk ut for å skrive, var ganske "
"forskjellig fra den som dukket frem i våre intervjuer og forskning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1579
msgid ""
"It isn’t that we were wrong to think you can make money while using Creative "
"Commons licenses. In many instances, CC can help make you more money. Nor "
"were we wrong that there are business models out there that others who want "
"to use CC licensing as part of their livelihood or business could replicate. "
"What we didn’t realize was just how misguided it would be to write a book "
"about being Made with Creative Commons using only a business lens."
msgstr ""
"Det var  ikke for at vi tok feil i å tro at du kan tjene penger når du "
"bruker Creative Commons-lisenser. I mange tilfeller bidrar CC til å tjene "
"mer penger. Heller ikke tok vi feil i at det er forretningsmodeller der ute "
"som andre, som ønsker å bruke CC-lisenser som en del av sitt levebrød eller "
"sin bedrift, kan benytte. Det vi ikke skjønte var hvor misforstått det ville "
"være å skrive en bok om å skape med Creative Commons, og bare fokusere på "
"forretningsvirksomhet."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1592
msgid ""
"Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010), 14. A preview of the book is available at <ulink "
"url=\"http://strategyzer.com/books/business-model-generation\"/>."
msgstr ""
"Alex Osterwalder og Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010), 14. En forhåndsvisning av boken er tilgjengelig "
"på <ulink url=\"http://strategyzer.com/books/business-model-generation\"/>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1588
#, fuzzy
#| msgid ""
#| "According to the seminal handbook Business Model Generation, a business "
#| "model “describes the rationale of how an organization creates, delivers, "
#| "and captures value.”<placeholder type=\"footnote\" id=\"0\"/> Thinking "
#| "about sharing in terms of creating and capturing value always felt "
#| "inappropriately transactional and out of place, something we heard time "
#| "and time again in our interviews. And as Cory Doctorow told us in our "
#| "interview with him, “Business model can mean anything you want it to "
#| "mean.”"
msgid ""
"According to the seminal handbook Business Model Generation, a business "
"model <quote>describes the rationale of how an organization creates, "
"delivers, and captures value.</quote><placeholder type=\"footnote\" id=\"0\"/"
"> Thinking about sharing in terms of creating and capturing value always "
"felt inappropriately transactional and out of place, something we heard time "
"and time again in our interviews. And as Cory Doctorow told us in our "
"interview with him, <quote>Business model can mean anything you want it to "
"mean.</quote>"
msgstr ""
"Ifølge den banebrytende håndboken Business Model Generation, en "
"forretningsmodell som <quote>beskriver begrunnelsen for hvordan en "
"organisasjon skaper, leverer og fanger inn verdi.</quote><placeholder type="
"\"footnote\" id=\"0\"/> Tenking om deling i betydningen å skape og fange inn "
"verdier, føltes alltid uriktig transaksjonsbasert og malplassert, noe vi "
"hørte gang på gang i våre intervjuer. Og som Cory Doctorow fortalte oss i "
"vårt intervju med ham, <quote>forretningsmodell kan bety alt dere mener det "
"skal bety.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1604
msgid ""
"Eventually, we got it. Being Made with Creative Commons is more than a "
"business model. While we will talk about specific revenue models as one "
"piece of our analysis (and in more detail in the case studies), we scrapped "
"that as our guiding rubric for the book."
msgstr ""
"Til slutt forsto vi det. Å gi ut noe med Creative Commons-lisens er mer enn "
"en forretningsmodell. Mens vi vil snakke om bestemte inntektsmodeller som en "
"del av vår analyse (og mer detaljert i referansestudiene), skrotet vi det "
"som som vår styrende overskrift for boken."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1611
msgid ""
"Admittedly, it took me a long time to get there. When Paul and I divided up "
"our writing after finishing the research, my charge was to distill "
"everything we learned from the case studies and write up the practical "
"lessons and takeaways. I spent months trying to jam what we learned into the "
"business-model box, convinced there must be some formula for the way things "
"interacted. But there is no formula. You’ll probably have to discard that "
"way of thinking before you read any further."
msgstr ""
"Riktignok er tok det lang tid for meg å komme dit. Når Paul og jeg delte opp "
"vår skriving etter avsluttet forskning, var mitt ansvar å løfte frem alt vi "
"lærte fra referansestudiene, og skrive opp praktiske leksjoner og snarveier. "
"Jeg tilbrakte måneder med å prøve å få frem det vi lærte i boksen for "
"forretningsmodell, overbevist om det var en formel for hvordan ting hang "
"sammen. Men det var ingen formel. Du vil sannsynligvis måtte forkaste den "
"måten å tenke på før du leser videre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1621
msgid ""
"In every interview, we started from the same simple questions.  Amid all the "
"diversity among the creators, organizations, and businesses we profiled, "
"there was one constant. Being Made with Creative Commons may be good for "
"business, but that is not why they do it. Sharing work with Creative Commons "
"is, at its core, a moral decision. The commercial and other self-interested "
"benefits are secondary. Most decided to use CC licenses first and found a "
"revenue model later. This was our first hint that writing a book solely "
"about the impact of sharing on business might be a little off track."
msgstr ""
"I hvert intervju startet vi med de samme enkle spørsmålene. Blant alle "
"variasjonene hos bidragsytere, organisasjoner og bedrifter vi gjennomgikk, "
"var det en konstant.  Å publisere med Creative Commons-lisens kan være bra "
"for forretningen, men det er ikke derfor de gjør det. Å dele arbeidet ved "
"hjelp av Creative Commons, er i bunn og grunn en moralsk beslutning. "
"Kommersielle og andre fordeler i egeninteresse er sekundære. De fleste "
"besluttet å bruke CC-lisenser først, og fant en inntektsmodell senere. Dette "
"var vårt første hint, at å skrive en bok bare om virkningen av deling i ett "
"forretningsperspektiv, kan være litt utenfor sporet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1633
msgid ""
"But we also started to realize something about what it means to be Made with "
"Creative Commons. When people talked to us about how and why they used CC, "
"it was clear that it meant something more than using a copyright license. It "
"also represented a set of values.  There is symbolism behind using CC, and "
"that symbolism has many layers."
msgstr ""
"Men vi har også begynt å innse noe om hva det betyr å publisere med Creative "
"Commons-lisens. Når folk snakket med oss om hvordan og hvorfor de brukte CC, "
"ble det klart at det betydde noe mer enn å bruke en lisens for åndsverk. Det "
"representerte også et verdisett. Det er symbolikk bak å bruke CC, og den "
"symbolikken har mange lag."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1641
msgid ""
"At one level, being Made with Creative Commons expresses an affinity for the "
"value of Creative Commons. While there are many different flavors of CC "
"licenses and nearly infinite ways to be Made with Creative Commons, the "
"basic value system is rooted in a fundamental belief that knowledge and "
"creativity are building blocks of our culture rather than just commodities "
"from which to extract market value. These values reflect a belief that the "
"common good should always be part of the equation when we determine how to "
"regulate our cultural outputs. They reflect a belief that everyone has "
"something to contribute, and that no one can own our shared culture. They "
"reflect a belief in the promise of sharing."
msgstr ""
"På ett nivå uttrykker Made with Creative Commons en tilknytning for verdien "
"av Creative Commons. Mens det er mange forskjellige variasjoner av CC-"
"lisenser, og nesten uendelige måter for å være Made with Creative Commons, "
"er det grunnleggende verdisystemet forankret i en grunnleggende tro på at "
"kunnskap og kreativitet er byggesteinene i vår kultur, heller enn bare varer "
"som har en markedsverdi som gir inntekt. Disse verdiene gjenspeiler troen på "
"at fellesgodet alltid bør være en del av sammenhengen når vi bestemmer "
"hvordan vi regulerer vår kulturelle produksjon. De gjenspeiler en tro på at "
"alle har noe å bidra med, og at ingen kan eie vår felles kultur. De "
"gjenspeiler en tro på løftet om å dele."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1655
#, fuzzy
#| msgid ""
#| "Whether the public makes use of the opportunity to copy and adapt your "
#| "work, sharing with a Creative Commons license is a symbol of how you want "
#| "to interact with the people who consume your work.  Whenever you create "
#| "something, “all rights reserved” under copyright is automatic, so the "
#| "copyright symbol (©) on the work does not necessarily come across as a "
#| "marker of distrust or excessive protectionism. But using a CC license can "
#| "be a symbol of the opposite—of wanting a real human relationship, rather "
#| "than an impersonal market transaction. It leaves open the possibility of "
#| "connection."
msgid ""
"Whether the public makes use of the opportunity to copy and adapt your work, "
"sharing with a Creative Commons license is a symbol of how you want to "
"interact with the people who consume your work.  Whenever you create "
"something, <quote>all rights reserved</quote> under copyright is automatic, "
"so the copyright symbol (©) on the work does not necessarily come across as "
"a marker of distrust or excessive protectionism. But using a CC license can "
"be a symbol of the opposite—of wanting a real human relationship, rather "
"than an impersonal market transaction. It leaves open the possibility of "
"connection."
msgstr ""
"Om publikum gjør bruk av muligheten til å kopiere og tilpasse sitt arbeid, "
"er å dele med en Creative Commons-lisens et symbol på hvordan du skal "
"kommunisere med personer som bruker ditt arbeidet. Når du oppretter noe, er "
"<quote>alle rettigheter reservert</quote> med opphavsrett automatisk, så "
"opphavsrettsymbolet (©) på arbeidet formidles ikke nødvendigvis som en "
"markør av mistro eller overdreven proteksjonisme. Men å bruke en CC-lisens "
"kan være et symbol på det motsatte – av at en ønsker en ekte menneskelig "
"relasjon, i stedet for en upersonlig markedstransaksjon. Det etterlater en "
"åpen mulighet for forbindelse."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1667
msgid ""
"Being Made with Creative Commons not only demonstrates values connected to "
"CC and sharing. It also demonstrates that something other than profit drives "
"what you do. In our interviews, we always asked what success looked like for "
"them. It was stunning how rarely money was mentioned. Most have a deeper "
"purpose and a different vision of success."
msgstr ""
"Made with Creative Commons viser ikke bare verdiene med CC og å dele. Det "
"viser også at noe annet enn at profitt driver hva man gjør. I våre "
"intervjuer spurte vi alltid hva suksess var for dem. Det var overraskende "
"hvor sjelden penger ble nevnt. De fleste har en dypere hensikt, og et annet "
"syn på suksess."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1680
msgid ""
"Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet "
"Age (San Francisco, CA: McSweeney’s, 2014) 68."
msgstr ""
"Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet "
"Age (San Francisco, CA: McSweeney’s, 2014) 68."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1675
#, fuzzy
#| msgid ""
#| "The driving motivation varies depending on the type of endeavor.  For "
#| "individual creators, it is most often about personal inspiration. In some "
#| "ways, this is nothing new. As Doctorow has written, “Creators usually "
#| "start doing what they do for love.”<placeholder type=\"footnote\" id="
#| "\"0\"/> But when you share your creative work under a CC license, that "
#| "dynamic is even more pronounced. Similarly, for technological innovators, "
#| "it is often less about creating a specific new thing that will make you "
#| "rich and more about solving a specific problem you have. The creators of "
#| "Arduino told us that the key question when creating something is “Do you "
#| "as the creator want to use it? It has to have personal use and meaning.”"
msgid ""
"The driving motivation varies depending on the type of endeavor.  For "
"individual creators, it is most often about personal inspiration. In some "
"ways, this is nothing new. As Doctorow has written, <quote>Creators usually "
"start doing what they do for love.</quote><placeholder type=\"footnote\" id="
"\"0\"/> But when you share your creative work under a CC license, that "
"dynamic is even more pronounced. Similarly, for technological innovators, it "
"is often less about creating a specific new thing that will make you rich "
"and more about solving a specific problem you have. The creators of Arduino "
"told us that the key question when creating something is <quote>Do you as "
"the creator want to use it? It has to have personal use and meaning.</quote>"
msgstr ""
"Motivasjonen varierer avhengig av hva en skal oppnå. For individuelle "
"innholdsleverandører er det oftest en personlig inspirasjon. På noen måter "
"er dette ikke noe nytt. Som Doctorow har skrevet, <quote>skapere starter "
"vanligvis å gjøre hva de gjør av kjærlighet</quote>.<placeholder type="
"\"footnote\" id=\"0\"/>  Men når du deler ditt skapende arbeid under en CC-"
"lisens, er denne dynamikken enda mer uttalt.  Tilsvarende for teknologiske "
"innovatører gjelder det ofte mindre å skape en bestemt ny ting som vil gjøre "
"deg rik, men mer om å løse et bestemt problem du har. Skaperne av Arduino "
"fortalte oss at de viktigste spørsmålet når du oppretter noe er <quote>vil "
"du som lager det, bruke det? Det må ha en personlig bruk og betydning.</"
"quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1692
msgid ""
"Many that are Made with Creative Commons have an express social mission that "
"underpins everything they do. In many cases, sharing with Creative Commons "
"expressly advances that social mission, and using the licenses can be the "
"difference between legitimacy and hypocrisy. Noun Project co-founder Edward "
"Boatman told us they could not have stated their social mission of sharing "
"with a straight face if they weren’t willing to show the world that it was "
"OK to share their content using a Creative Commons license."
msgstr ""
"Mange som bruker Made with Creative Commons har et uttrykt sosialt formål "
"som underbygger alt de gjør. I mange tilfeller gir å dele med Creative "
"Commons klare fremskritt for dette sosiale formålet, og å bruke lisensene "
"kan være forskjellen mellom legitimitet og hykleri. Medgrunnlegger Edward "
"Boatman i Noun-prosjektet fortalte at de ikke kunne ha formulert sitt "
"samfunnsoppdrag med å dele  <quote>with a straight face</quote> "
"(<quote>holde masken</quote> )hvis de ikke var villig til å vise verden at "
"det var OK å dele innholdet med en Creative Commons-lisens."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1702
msgid ""
"This dynamic is probably one reason why there are so many nonprofit examples "
"of being Made with Creative Commons. The content is the result of a labor of "
"love or a tool to drive social change, and money is like gas in the car, "
"something that you need to keep going but not an end in itself. Being Made "
"with Creative Commons is a different vision of a business or livelihood, "
"where profit is not paramount, and producing social good and human "
"connection are integral to success."
msgstr ""
"Denne dynamikken er nok en grunn til hvorfor det er så mange nonprofit "
"eksempler på Made with Creative Commons. Innholdet er resultatet av en "
"innsats en føler mye for, eller et verktøy for å oppnå sosial endring, og "
"penger er som gassen i bilen, noe som du må holde i gang, men som ikke er et "
"mål i seg selv. Made with Creative Commons er et annet syn på en bedrift "
"eller et levebrød, der profitt ikke er avgjørende, men å produsere et sosial "
"gode og menneskelig tilknytning er en integrert del for å oppnå suksess."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1712
msgid ""
"Even if profit isn’t the end goal, you have to bring in money to be "
"successfully Made with Creative Commons. At a bare minimum, you have to make "
"enough money to keep the lights on."
msgstr ""
"Selv om profitt ikke er siktemålet, må det bringes penger inn for å være "
"velykket med Made with Creative Commons. Som et absolutt minimum må du tjene "
"nok til å holde lysene påslått."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1717
#, fuzzy
msgid ""
"The costs of doing business vary widely for those made with CC, but there is "
"generally a much lower threshold for sustainability than there used to be "
"for any creative endeavor. Digital technology has made it easier than ever "
"to create, and easier than ever to distribute. As Doctorow put it in his "
"book Information Doesn’t Want to Be Free, <quote>If analog dollars have "
"turned into digital dimes (as the critics of ad-supported media have it), "
"there is the fact that it’s possible to run a business that gets the same "
"amount of advertising as its forebears at a fraction of the price.</quote>"
msgstr ""
"Kostnadene for å gjøre forretninger varierer ved bruk av CC, men det er "
"vanligvis en mye lavere terskel for lønnsomhet enn det pleide å være for "
"kreative geskjefter. Digital teknologi har gjort det enklere enn noensinne å "
"lage og distribuere. Som Doctorow skrev i sin bok <quote>Information Doesn’t "
"Want to Be Free</quote>: <quote>Hvis analoge dollar har snudd til digitale "
"skillemynt (som kritikere av annonsestøttede media vil ha det til), er det "
"det et faktum at det er mulig å drive forretning som i reklamehensikt "
"overgår sine forgjengere til en brøkdel av prisen.</quote>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1734
#, fuzzy
msgid "Ibid., 55."
msgstr "Ibid., 55."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1729
msgid ""
"Some creation costs are the same as they always were. It takes the same "
"amount of time and money to write a peer-reviewed journal article or paint a "
"painting. Technology can’t change that. But other costs are dramatically "
"reduced by technology, particularly in production-heavy domains like "
"filmmaking.<placeholder type=\"footnote\" id=\"0\"/> CC-licensed content and "
"content in the public domain, as well as the work of volunteer "
"collaborators, can also dramatically reduce costs if they’re being used as "
"resources to create something new. And, of course, there is the reality that "
"some content would be created whether or not the creator is paid because it "
"is a labor of love."
msgstr ""
"Noen oppstartskostnader er de samme som de alltid har vært. Det koster like "
"mye tid og penger å skrive en fagfellevurdert tidsskriftsartikkel, eller "
"male et maleri. Teknologi endrer ikke på det. Andre kostnader har "
"teknologien redusert dramatisk, særlig i produksjonstunge områder som "
"filmskaping.<placeholder type=\"footnote\" id=\"0\"/> CC-lisensiert innhold "
"og innhold i den offentlige sfære, samt frivillige samarbeidspartneres "
"arbeide, kan også redusere kostnader dramatisk hvis de brukes som ressurser "
"til å lage noe nytt. Og, selvfølgelig, realiteten er at noe innhold lages "
"enten den som lager det får betalt eller ei, fordi det har sitt utspring i "
"egen overbevisning."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1746
#, fuzzy
msgid ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface (New York: Hyperion, 2010), "
"224."
msgstr ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface (New York: Hyperion, 2010), "
"224."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1743
msgid ""
"Distributing content is almost universally cheaper than ever. Once content "
"is created, the costs to distribute copies digitally are essentially zero."
"<placeholder type=\"footnote\" id=\"0\"/> The costs to distribute physical "
"copies are still significant, but lower than they have been historically. "
"And it is now much easier to print and distribute physical copies on-demand, "
"which also reduces costs. Depending on the endeavor, there can be a whole "
"host of other possible expenses like marketing and promotion, and even "
"expenses associated with the various ways money is being made, like touring "
"or custom training."
msgstr ""
"Å distribuere innhold er nesten universelt billigere enn noensinne. Når "
"innhold først er laget, er kostnadene ved å distribuere kopier digitalt "
"tilnærmelsesvis null.<placeholder type=\"footnote\" id=\"0\"/> Kostnadene "
"ved å distribuere fysiske kopier er fortsatt betydelige, men lavere enn de "
"har vært historisk sett. Det er nå mye enklere å skrive ut og distribuere "
"fysiske kopier på forespørsel, noe som også reduserer kostnadene. Avhengig "
"av oppgaven kan det tilkomme en hel rekke andre utgifter, som markedsføring "
"og promotering, og selv utgifter tilknyttet ulike inntektskilders iboende "
"ervervelse, som turneer eller tilpasset opplæring."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1768
#, fuzzy
msgid "Doctorow, Information Doesn’t Want to Be Free, 44."
msgstr "Doctorow, Information Doesn’t Want to Be Free, 44."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1758
#, fuzzy
#| msgid ""
#| "It’s important to recognize that the biggest impact of technology on "
#| "creative endeavors is that creators can now foot the costs of creation "
#| "and distribution themselves. People now often have a direct route to "
#| "their potential public without necessarily needing intermediaries like "
#| "record labels and book publishers. Doctorow wrote, “If you’re a creator "
#| "who never got the time of day from one of the great imperial powers, this "
#| "is your time. Where once you had no means of reaching an audience without "
#| "the assistance of the industry-dominating megacompanies, now you have "
#| "hundreds of ways to do it without them.”<placeholder type=\"footnote\" id="
#| "\"0\"/> Previously, distribution of creative work involved the costs "
#| "associated with sustaining a monolithic entity, now creators can do the "
#| "work themselves. That means the financial needs of creative endeavors can "
#| "be a lot more modest."
msgid ""
"It’s important to recognize that the biggest impact of technology on "
"creative endeavors is that creators can now foot the costs of creation and "
"distribution themselves. People now often have a direct route to their "
"potential public without necessarily needing intermediaries like record "
"labels and book publishers. Doctorow wrote, <quote>If you’re a creator who "
"never got the time of day from one of the great imperial powers, this is "
"your time. Where once you had no means of reaching an audience without the "
"assistance of the industry-dominating megacompanies, now you have hundreds "
"of ways to do it without them.</quote><placeholder type=\"footnote\" id="
"\"0\"/> Previously, distribution of creative work involved the costs "
"associated with sustaining a monolithic entity, now creators can do the work "
"themselves. That means the financial needs of creative endeavors can be a "
"lot more modest."
msgstr ""
"Viktig er det å innse at teknologi i fremste rekke lar skapere stå for egen "
"distribusjon og kostnadene tilknyttet den. Folk har nå ofte en direkte rute "
"til sitt potensielle publikum uten nødvendigvis å belage seg på mellomledd "
"som plateselskaper og forleggere. Doctorow skrev: <quote>Hvis du er en "
"innholdsleverandør som aldri fikk imperialistiske makters miskunn, er dette "
"din tid. Der du en gang sto uten mulighet til å nå ut til et publikum uten "
"hjelp av industridominerte megaselskaper, har du nå hundrevis av måter å "
"omgå dem</quote>.<placeholder type=\"footnote\" id=\"0\"/> Tidligere "
"etterfulgte distribusjon av skapende arbeid kostnadene knyttet til "
"opprettholdelse av en monolittisk enhet, som nå skaperne kan utligne for "
"eget grep. Finansielle forutsetninger for kreativt innhold kan dermed være "
"meget mer beskjedne."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1775
#, fuzzy
msgid ""
"Whether for an individual creator or a larger endeavor, it usually isn’t "
"enough to break even if you want to make what you’re doing a livelihood. You "
"need to build in some support for the general operation. This extra bit "
"looks different for everyone, but importantly, in nearly all cases for those "
"Made with Creative Commons, the definition of <quote>enough money</quote> "
"looks a lot different than it does in the world of venture capital and stock "
"options. It is more about sustainability and less about unlimited growth and "
"profit. SparkFun founder Nathan Seidle told us, <quote>Business model is a "
"really grandiose word for it. It is really just about keeping the operation "
"going day to day.</quote>"
msgstr ""
"Å gå i null kan vanskelig gjøres levebrød av, det være seg som individuell "
"bidragsyter eller i videre omfang. Støtte til generell drift må bygges inn. "
"Denne ekstra delen er forskjellig for alle, men viktigere, i nesten alle "
"<quote>Made with Creative Commons</quote> fall fortoner definisjonen av "
"<quote>nok penger</quote> annerledes enn i en verden av risikovillig kapital "
"og aksjeopsjoner. Det handler mer om bærekraft og mindre om ubegrenset vekst "
"og fortjeneste. SparkFuns grunnlegger Nathan Seidle lot oss fortelle: "
"<quote>Forretningsmodell er et virkelig grandiost ord for det. Egentlig "
"gjelder det bare å holde ting gående fra dag til dag</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1788
msgid ""
"This book is a testament to the notion that it is possible to make money "
"while using CC licenses and CC-licensed content, but we are still very much "
"at an experimental stage. The creators, organizations, and businesses we "
"profile in this book are blazing the trail and adapting in real time as they "
"pursue this new way of operating."
msgstr ""
"Denne boken er et vitnesbyrd til ideen om at det er mulig å tjene penger i "
"bruken av CC-lisenser og -innhold, men vi befinner oss i høy grad på "
"eksperimentstadiet. Innholdsleverandører, organisasjoner, og bedrifter som "
"profilerer i denne boken, blitskriger veien videre i sin søken etter denne "
"nye måten å operere på."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1796
#, fuzzy
#| msgid ""
#| "There are, however, plenty of ways in which CC licensing can be good for "
#| "business in fairly predictable ways. The first is how it helps solve "
#| "“problem zero.”"
msgid ""
"There are, however, plenty of ways in which CC licensing can be good for "
"business in fairly predictable ways. The first is how it helps solve "
"<quote>problem zero.</quote>"
msgstr ""
"Det er imidlertid mange måter CC-lisenser kan tjene forretningene på ganske "
"forutsigbare måter. Den første er hvordan det er til hjelp med å løse "
"<quote>problem null</quote>."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1801
msgid "Problem Zero: Getting Discovered"
msgstr "Problem Null: Å bli oppdaget"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1808
#, fuzzy
msgid ""
"Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help (New York: Grand Central, 2014), 121."
msgstr ""
"Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help (New York: Grand Central, 2014), 121."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1823
#, fuzzy
msgid ""
"Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, "
"2012), 64."
msgstr ""
"Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, "
"2012), 64."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1803
#, fuzzy
#| msgid ""
#| "Once you create or collect your content, the next step is finding users, "
#| "customers, fans—in other words, your people. As Amanda Palmer wrote, “It "
#| "has to start with the art. The songs had to touch people initially, and "
#| "mean something, for anything to work at all.”<placeholder type=\"footnote"
#| "\" id=\"0\"/> There isn’t any magic to finding your people, and there is "
#| "certainly no formula. Your work has to connect with people and offer them "
#| "some artistic and/or utilitarian value. In some ways, this is easier than "
#| "ever. Online we are not limited by shelf space, so there is room for "
#| "every obscure interest, taste, and need imaginable. This is what Chris "
#| "Anderson dubbed the Long Tail, where consumption becomes less about "
#| "mainstream mass “hits” and more about micromarkets for every particular "
#| "niche. As Anderson wrote, “We are all different, with different wants and "
#| "needs, and the Internet now has a place for all of them in the way that "
#| "physical markets did not.”<placeholder type=\"footnote\" id=\"1\"/> We "
#| "are no longer limited to what appeals to the masses."
msgid ""
"Once you create or collect your content, the next step is finding users, "
"customers, fans—in other words, your people. As Amanda Palmer wrote, "
"<quote>It has to start with the art. The songs had to touch people "
"initially, and mean something, for anything to work at all.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> There isn’t any magic to "
"finding your people, and there is certainly no formula. Your work has to "
"connect with people and offer them some artistic and/or utilitarian value. "
"In some ways, this is easier than ever. Online we are not limited by shelf "
"space, so there is room for every obscure interest, taste, and need "
"imaginable. This is what Chris Anderson dubbed the Long Tail, where "
"consumption becomes less about mainstream mass <quote>hits</quote> and more "
"about micromarkets for every particular niche. As Anderson wrote, <quote>We "
"are all different, with different wants and needs, and the Internet now has "
"a place for all of them in the way that physical markets did not.</"
"quote><placeholder type=\"footnote\" id=\"1\"/> We are no longer limited to "
"what appeals to the masses."
msgstr ""
"Når du oppretter eller samler ditt innhold, finner du i neste trinn brukere; "
"kunder, tilhengere – med andre ord, folk. Som Amanda Palmer skrev, "
"<quote>Det må starte med kunsten. Sangene måtte røre ved folks bevissthet "
"først, og bety noe, om noe overhode skal fungere</quote>.<placeholder type="
"\"footnote\" id=\"0\"/> Ingen magi inngår i å finne dine, og det er absolutt "
"ingen formel. Søk kontakt med folk, og tilby dem kunstnerisk og/eller "
"nytteverdi. På noen måter er det enklere enn noensinne. På nettet begrenses "
"vi ikke av hylleplass, og det rommer alle tenkelige særinteresser, smak og "
"behov. Dette er det Chris Anderson kalte <quote>den lange halen</quote>, der "
"forbruket handler mindre om bredspektrede <quote>treff</quote>, og mer om "
"mikromarkeder for hver enkelt nisje. Som Anderson skrev, <quote>Vi er alle "
"forskjellige, med forskjellige ønsker og behov, og Internett rommer dem "
"alle, på en måte som fysiske markeder ikke makter</quote>.<placeholder type="
"\"footnote\" id=\"1\"/> Vi begrenses ikke lenger til massenes appell."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1837
#, fuzzy
msgid ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 70."
msgstr ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 70."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1844
#, fuzzy
msgid "Anderson, Makers, 66."
msgstr "Anderson, Makers, 66."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1849
#, fuzzy
msgid ""
"Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New "
"York: Morgan James, 2016), 10."
msgstr ""
"Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New "
"York: Morgan James, 2016), 10."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1829
#, fuzzy
#| msgid ""
#| "While finding “your people” online is theoretically easier than in the "
#| "analog world, as a practical matter it can still be difficult to actually "
#| "get noticed. The Internet is a firehose of content, one that only grows "
#| "larger by the minute. As a content creator, not only are you competing "
#| "for attention against more content creators than ever before, you are "
#| "competing against creativity generated outside the market as well."
#| "<placeholder type=\"footnote\" id=\"0\"/> Anderson wrote, “The greatest "
#| "change of the past decade has been the shift in time people spend "
#| "consuming amateur content instead of professional content.”<placeholder "
#| "type=\"footnote\" id=\"1\"/> To top it all off, you have to compete "
#| "against the rest of their lives, too—“friends, family, music playlists, "
#| "soccer games, and nights on the town.”<placeholder type=\"footnote\" id="
#| "\"2\"/> Somehow, some way, you have to get noticed by the right people."
msgid ""
"While finding <quote>your people</quote> online is theoretically easier than "
"in the analog world, as a practical matter it can still be difficult to "
"actually get noticed. The Internet is a firehose of content, one that only "
"grows larger by the minute.  As a content creator, not only are you "
"competing for attention against more content creators than ever before, you "
"are competing against creativity generated outside the market as well."
"<placeholder type=\"footnote\" id=\"0\"/> Anderson wrote, <quote>The "
"greatest change of the past decade has been the shift in time people spend "
"consuming amateur content instead of professional content.</"
"quote><placeholder type=\"footnote\" id=\"1\"/> To top it all off, you have "
"to compete against the rest of their lives, too—<quote>friends, family, "
"music playlists, soccer games, and nights on the town.</quote><placeholder "
"type=\"footnote\" id=\"2\"/> Somehow, some way, you have to get noticed by "
"the right people."
msgstr ""
"Samtidig som det å finne likesindighet på nettet teoretisk sett er enklere "
"enn i den analoge verden, kan det rent praktisk fortsatt være vanskelig å "
"faktisk bli lagt merke til. Internettets innholdsflod vokser minutt for "
"minutt. Som innholdsleverandør konkurrerer du også mot kreativitet generert "
"utenfor markedet.<placeholder type=\"footnote\" id=\"0\"/> Anderson skrev, "
"<quote>Den største endringen det siste tiåret har vært et skifte i tiden "
"folk bruker på amatør-, snarere enn profesjonelt innhold</quote>."
"<placeholder type=\"footnote\" id=\"1\"/> For å toppe det hele må du "
"utkonkurrere med resten av livene deres, – <quote>venner, familie, "
"musikkspillelister, fotballkamper, og kvelder på byen</quote>.<placeholder "
"type=\"footnote\" id=\"2\"/> På én eller annen måte må du bli lagt merke til "
"av de rette folkene."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1863
#, fuzzy
msgid "Anderson, Free, 62."
msgstr "Anderson, Free, 62."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1855
#, fuzzy
#| msgid ""
#| "When you come to the Internet armed with an all-rights-reserved mentality "
#| "from the start, you are often restricting access to your work before "
#| "there is even any demand for it. In many cases, requiring payment for "
#| "your work is part of the traditional copyright system. Even a tiny cost "
#| "has a big effect on demand.  It’s called the penny gap—the large "
#| "difference in demand between something that is available at the price of "
#| "one cent versus the price of zero.<placeholder type=\"footnote\" id=\"0\"/"
#| "> That doesn’t mean it is wrong to charge money for your content. It "
#| "simply means you need to recognize the effect that doing so will have on "
#| "demand. The same principle applies to restricting access to copy the "
#| "work. If your problem is how to get discovered and find “your people,” "
#| "prohibiting people from copying your work and sharing it with others is "
#| "counterproductive."
msgid ""
"When you come to the Internet armed with an all-rights-reserved mentality "
"from the start, you are often restricting access to your work before there "
"is even any demand for it. In many cases, requiring payment for your work is "
"part of the traditional copyright system. Even a tiny cost has a big effect "
"on demand.  It’s called the penny gap—the large difference in demand between "
"something that is available at the price of one cent versus the price of "
"zero.<placeholder type=\"footnote\" id=\"0\"/> That doesn’t mean it is wrong "
"to charge money for your content. It simply means you need to recognize the "
"effect that doing so will have on demand. The same principle applies to "
"restricting access to copy the work. If your problem is how to get "
"discovered and find <quote>your people,</quote> prohibiting people from "
"copying your work and sharing it with others is counterproductive."
msgstr ""
"Når du kommer til Internett med en alle-rettigheter-reservert -mentalitet, "
"begrenser du ofte adgangen til innholdet ditt før det er gjenstand for noen "
"etterspørsel. I mange tilfeller er betalingsmureri en del av det "
"tradisjonelle opphavsrettssystemet. Selv og især en liten pris kuer "
"etterspørselen. Det kalles <quote>øregapet</quote>: Den store "
"etterspørselsforskjellen mellom noe som er tilgjengelig til prisen av ett "
"øre, mot en pris lik null.<placeholder type=\"footnote\" id=\"0\"/> Å ta "
"betalt for innholdet er ikke galt, med mindre det betyr nedskriving av "
"betydningen det har på etterspørselen. Samme prinsipp gjelder ved begrensing "
"av tilgang til kopiering av arbeidet. Hvis problemet ditt er å bli oppdaget "
"og finne ditt publikum, mothensikter du ut folk som vil noe med arbeidet "
"ditt."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1877
#, fuzzy
msgid "Doctorow, Information Doesn’t Want to Be Free, 38."
msgstr "Doctorow, Information Doesn’t Want to Be Free, 38."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1873
#, fuzzy
#| msgid ""
#| "Of course, it’s not that being discovered by people who like your work "
#| "will make you rich—far from it. But as Cory Doctorow says, “Recognition "
#| "is one of many necessary preconditions for artistic success.”<placeholder "
#| "type=\"footnote\" id=\"0\"/>"
msgid ""
"Of course, it’s not that being discovered by people who like your work will "
"make you rich—far from it. But as Cory Doctorow says, <quote>Recognition is "
"one of many necessary preconditions for artistic success.</"
"quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Selvfølgelig, å bli oppdaget av folk som liker arbeidet gjør deg ikke "
"bemidlet - så langt derifra. Som Cory Doctorow dog sier suksessivt, "
"<quote>anerkjennelse er en av mange nødvendige forutsetninger for "
"kunstnerisk suksess</quote>.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1881
msgid ""
"Choosing not to spend time and energy restricting access to your work and "
"policing infringement also builds goodwill. Lumen Learning, a for-profit "
"company that publishes online educational materials, made an early decision "
"not to prevent students from accessing their content, even in the form of a "
"tiny paywall, because it would negatively impact student success in a way "
"that would undermine the social mission behind what they do. They believe "
"this decision has generated an immense amount of goodwill within the "
"community."
msgstr ""
"Å ikke bruke energi på å begrense tilgangen til ditt arbeid, samt "
"forfølgelseav overtredelser, bygger også velvilje. Lumen Learning, et "
"selskap til egen inntekts ervervelse (profittselskap), som utgir læremidler "
"på nett, tok en tidlig avgjørelse om ikke å forhindre studentenes adgang til "
"innholdet, selv i form av en liten betalingslevegg, fordi det negativt ville "
"påvirke studentens suksess på en måte som ville undergrave samfunnsoppdraget "
"bak det de gjør. De tror denne beslutningen har generert en betydelig mengde "
"velvilje i samfunnet."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1899
#, fuzzy
msgid "Bollier, Think Like a Commoner, 68."
msgstr "Bollier, Think Like a Commoner, 68."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1892
#, fuzzy
#| msgid ""
#| "It is not just that restricting access to your work may undermine your "
#| "social mission. It also may alienate the people who most value your "
#| "creative work. If people like your work, their natural instinct will be "
#| "to share it with others. But as David Bollier wrote, “Our natural human "
#| "impulses to imitate and share—the essence of culture—have been "
#| "criminalized.”<placeholder type=\"footnote\" id=\"0\"/>"
msgid ""
"It is not just that restricting access to your work may undermine your "
"social mission. It also may alienate the people who most value your creative "
"work. If people like your work, their natural instinct will be to share it "
"with others. But as David Bollier wrote, <quote>Our natural human impulses "
"to imitate and share—the essence of culture—have been criminalized.</"
"quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Det er ikke bare det at begrenset innholdsadgang utelukker ditt sosiale "
"oppdrag. Det kan også fremmedgjøre folk som mest verdsetter din kreative "
"innsats. Hvis folk liker ditt arbeid, deler de instinktivt det naturligvis "
"av seg til, og med, andre. Som David Bollier endog skrev, <quote>våre "
"naturlige menneskelige impulser til å imitere og dele – essensen av hva "
"kultur er – har blitt kriminalisert</quote>.<placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1903
msgid ""
"The fact that copying can carry criminal penalties undoubtedly deters "
"copying it, but copying with the click of a button is too easy and "
"convenient to ever fully stop it. Try as the copyright industry might to "
"persuade us otherwise, copying a copyrighted work just doesn’t feel like "
"stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a "
"creative work has no impact on anyone else’s ability to make use of it."
msgstr ""
"Det faktum at kopiering kan innebære straffeansvar, er dets aber, men "
"kopiering som i største utstrekning krever klikk, lar seg ikke begrense av "
"dem. Om enn opphavsrettsindustrien brødfør med formaninger om det motsatte, "
"likestiller ikke kopiering av åndsverk tyveri av livets brød. Innbakt i "
"delingen er fraværet av begrensninger for noens nyttegjørelse av materialet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1912
#, fuzzy
#| msgid ""
#| "If you take some amount of copying and sharing your work as a given, you "
#| "can invest your time and resources elsewhere, rather than wasting them on "
#| "playing a cat and mouse game with people who want to copy and share your "
#| "work. Lizzy Jongma from the Rijksmuseum said, “We could spend a lot of "
#| "money trying to protect works, but people are going to do it anyway. And "
#| "they will use bad-quality versions.” Instead, they started releasing high-"
#| "resolution digital copies of their collection into the public domain and "
#| "making them available for free on their website. For them, sharing was a "
#| "form of quality control over the copies that were inevitably being shared "
#| "online. Doing this meant forgoing the revenue they previously got from "
#| "selling digital images. But Lizzy says that was a small price to pay for "
#| "all of the opportunities that sharing unlocked for them."
msgid ""
"If you take some amount of copying and sharing your work as a given, you can "
"invest your time and resources elsewhere, rather than wasting them on "
"playing a cat and mouse game with people who want to copy and share your "
"work. Lizzy Jongma from the Rijksmuseum said, <quote>We could spend a lot of "
"money trying to protect works, but people are going to do it anyway. And "
"they will use bad-quality versions.</quote> Instead, they started releasing "
"high-resolution digital copies of their collection into the public domain "
"and making them available for free on their website. For them, sharing was a "
"form of quality control over the copies that were inevitably being shared "
"online. Doing this meant forgoing the revenue they previously got from "
"selling digital images. But Lizzy says that was a small price to pay for all "
"of the opportunities that sharing unlocked for them."
msgstr ""
"Tar du for gitt en del kopiering og deling av arbeidet ditt, kan du "
"investere tid og ressurser andre steder enn å leke katt-og-mus med folk som "
"vil kopiere og dele ditt innhold. Lizzy Jongma fra Rijksmuseum sa, <quote>vi "
"kan bruke mye penger på å prøve å beskytte verkene, men folk kommer til å "
"gjøre det likevel.  Og de vil bruke gjengivelser med dårlig kvalitet</"
"quote>. I stedet startet de å utgi høyoppløselige digitale kopier fra sine "
"samlinger i det offentlige rom, gratis, fra sin hjemmeside. For dem var "
"deling en form for kvalitetskontroll av kopiene som uunngåelig ville blitt "
"delt på nettet. Å gjøre dette betød avkall på inntektene fra tidligere "
"tiders salg av digitale bilder. Lizzy sier det var en liten pris å betale "
"for alle mulighetene deling brakte dem."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1932
msgid "Anderson, Free, 86."
msgstr "Anderson, Free, 86."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1928
#, fuzzy
#| msgid ""
#| "Being Made with Creative Commons means you stop thinking about ways to "
#| "artificially make your content scarce, and instead leverage it as the "
#| "potentially abundant resource it is.<placeholder type=\"footnote\" id="
#| "\"0\"/> When you see information abundance as a feature, not a bug, you "
#| "start thinking about the ways to use the idling capacity of your content "
#| "to your advantage. As my friend and colleague Eric Steuer once said, "
#| "“Using CC licenses shows you get the Internet.”"
msgid ""
"Being Made with Creative Commons means you stop thinking about ways to "
"artificially make your content scarce, and instead leverage it as the "
"potentially abundant resource it is.<placeholder type=\"footnote\" id=\"0\"/"
"> When you see information abundance as a feature, not a bug, you start "
"thinking about the ways to use the idling capacity of your content to your "
"advantage. As my friend and colleague Eric Steuer once said, <quote>Using CC "
"licenses shows you get the Internet.</quote>"
msgstr ""
"Å ha brukt Made with Creative Commons betyr at du slutter å tenke på måter å "
"kunstig gjøre innholdet til et knapphetsgode, og i stedet utnytte det som "
"den potensielt rikelige ressursen det er.<placeholder type=\"footnote\" id="
"\"0\"/> Når du ser informasjonsoverflod som en funksjon, ikke en feil, "
"begynner du å tenke på måter å bruke denne tomgangskapasiteten til din "
"fordel. Som min venn og kollega Eric Steuer engang sa, <quote>å bruke CC-"
"lisenser viser at du har taket på Internett</quote>."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1943
#, fuzzy
msgid "Doctorow, Information Doesn’t Want to Be Free, 144."
msgstr "Doctorow, Information Doesn’t Want to Be Free, 144."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1940
msgid ""
"Cory Doctorow says it costs him nothing when other people make copies of his "
"work, and it opens the possibility that he might get something in return."
"<placeholder type=\"footnote\" id=\"0\"/> Similarly, the makers of the "
"Arduino boards knew it was impossible to stop people from copying their "
"hardware, so they decided not to even try and instead look for the benefits "
"of being open. For them, the result is one of the most ubiquitous pieces of "
"hardware in the world, with a thriving online community of tinkerers and "
"innovators that have done things with their work they never could have done "
"otherwise."
msgstr ""
"Cory Doctorow sier det ikke er på hans bekostning at andre mennesker lager "
"kopier av hans arbeid, når det åpner muligheten for at han kan få noe "
"tilbake.<placeholder type=\"footnote\" id=\"0\"/> På samme måte, skaperne av "
"Arduino Boards visste det var umulig å stoppe folk fra å kopiere maskinvaren "
"deres, så de besluttet selv ikke inngå i forsøket, for i stedet å se "
"fordelene med åpenhet. For dem er resultatet ett av de mest utbredte "
"maskinvarekort i verden, med et blomstrende nettverkssamfunn av tenkere og "
"innovatører, som har bidratt med ting de selv aldri kunne ha gjort på noen "
"annen måte."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1953
msgid ""
"There are all kinds of way to leverage the power of sharing and remix to "
"your benefit. Here are a few."
msgstr ""
"Det er alle slags måter å utnytte kraften i å dele og remikse til din "
"fordel. Her er noen:"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1957
msgid "Use CC to grow a larger audience"
msgstr "Bruk CC for å finne et større publikum"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1959
#, fuzzy
#| msgid ""
#| "Putting a Creative Commons license on your content won’t make it "
#| "automatically go viral, but eliminating legal barriers to copying the "
#| "work certainly can’t hurt the chances that your work will be shared. The "
#| "CC license symbolizes that sharing is welcome. It can act as a little tap "
#| "on the shoulder to those who come across the work—a nudge to copy the "
#| "work if they have any inkling of doing so. All things being equal, if one "
#| "piece of content has a sign that says Share and the other says Don’t "
#| "Share (which is what “©” means), which do you think people are more "
#| "likely to share?"
msgid ""
"Putting a Creative Commons license on your content won’t make it "
"automatically go viral, but eliminating legal barriers to copying the work "
"certainly can’t hurt the chances that your work will be shared. The CC "
"license symbolizes that sharing is welcome. It can act as a little tap on "
"the shoulder to those who come across the work—a nudge to copy the work if "
"they have any inkling of doing so. All things being equal, if one piece of "
"content has a sign that says Share and the other says Don’t Share (which is "
"what <quote>©</quote> means), which do you think people are more likely to "
"share?"
msgstr ""
"Å gi innholdet ditt Creative Commons-lisens, vil ikke automatisk gjøre at "
"det til landeplage, men eliminering av juridiske kopihindre svekker ikke "
"sjansene for at arbeidet deles. CC-lisens symboliserer deling velkommen. Den "
"kan fungere som et lite klapp på skulderen til de som kommer over arbeidet – "
"et lite dytt til å kopiere arbeidet om de fornemmer det. Forutsatt at alt "
"annet er likt, hvis ett stykke innhold har et skilt som sier <quote>Del</"
"quote> og det andre sier <quote>Ikke del</quote> (som er det <quote>©</"
"quote> betyr), hvilket tror du det er mer sannsynlig at folk deler?"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1971
msgid ""
"The Conversation is an online news site with in-depth articles written by "
"academics who are experts on particular topics. All of the articles are CC-"
"licensed, and they are copied and reshared on other sites by design. This "
"proliferating effect, which they track, is a central part of the value to "
"their academic authors who want to reach as many readers as possible."
msgstr ""
"The Conversation er et nyhetsnettsted med dyptgående artikler skrevet av "
"akademikere som er eksperter på spesifikke emner. Alle artiklene er CC-"
"lisensierte, og de kopieres og deles videre til andre ved design. Denne "
"voksende effekten, som spores, er en sentral del av verdien for de "
"akademiske forfattere som ønsker å nå så mange lesere som mulig."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1988
#, fuzzy
msgid "Anderson, Free, 123."
msgstr "Anderson, Free, 123."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1980
#, fuzzy
#| msgid ""
#| "The idea that more eyeballs equates with more success is a form of the "
#| "max strategy, adopted by Google and other technology companies. According "
#| "to Google’s Eric Schmidt, the idea is simple: “Take whatever it is you "
#| "are doing and do it at the max in terms of distribution. The other way of "
#| "saying this is that since marginal cost of distribution is free, you "
#| "might as well put things everywhere.”<placeholder type=\"footnote\" id="
#| "\"0\"/> This strategy is what often motivates companies to make their "
#| "products and services free (i.e., no cost), but the same logic applies to "
#| "making content freely shareable. Because CC-licensed content is free (as "
#| "in cost) and can be freely copied, CC licensing makes it even more "
#| "accessible and likely to spread."
msgid ""
"The idea that more eyeballs equates with more success is a form of the max "
"strategy, adopted by Google and other technology companies. According to "
"Google’s Eric Schmidt, the idea is simple: <quote>Take whatever it is you "
"are doing and do it at the max in terms of distribution. The other way of "
"saying this is that since marginal cost of distribution is free, you might "
"as well put things everywhere.</quote><placeholder type=\"footnote\" id="
"\"0\"/> This strategy is what often motivates companies to make their "
"products and services free (i.e., no cost), but the same logic applies to "
"making content freely shareable. Because CC-licensed content is free (as in "
"cost) and can be freely copied, CC licensing makes it even more accessible "
"and likely to spread."
msgstr ""
"Ideen om at jo flere seende øyne, er i maksimaliseringsøyemed, er en form "
"for maksimumsstrategi, adoptert av Google og andre teknologiselskaper. "
"Ifølge Eric Schmidt, Google, er idéen enkel: <quote>Uansett hva du gjør, "
"gjør det med maksimal distribusjon. Den andre måten å si dette på er at når "
"de marginale distribusjonskostnadene er borte, kan du også legge ut ting "
"overalt</quote>.<placeholder type=\"footnote\" id=\"0\"/> Denne strategien "
"motiverer ofte selskaper til å gjøre sine produkter og tjenester gratis "
"(dvs. til ingen kostnad), men den samme logikken gjelder for å dele innhold "
"fritt. Fordi CC-lisensiert innhold er gratis og fritt kan deles, gjør CC-"
"lisensiering innholdet enda mer tilgjengelig, og sannsynligvis spredt."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2002
msgid "Ibid., 132."
msgstr "Ibid., 132."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2007
msgid "Ibid., 70."
msgstr "Ibid., 70."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1997
msgid ""
"If you are successful in reaching more users, readers, listeners, or other "
"consumers of your work, you can start to benefit from the bandwagon effect. "
"The simple fact that there are other people consuming or following your work "
"spurs others to want to do the same.<placeholder type=\"footnote\" id=\"0\"/"
"> This is, in part, because we simply have a tendency to engage in herd "
"behavior, but it is also because a large following is at least a partial "
"indicator of quality or usefulness.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Hvis du lykkes i å nå flere brukere, lesere, lyttere eller andre brukere av "
"arbeidet, kan du starte med å benytte deg av tilhengereffekten. Det enkle "
"faktum er at andre folk som bruker eller følger ditt arbeid ansporer andre "
"til å gjøre samme.<placeholder type=\"footnote\" id=\"0\"/> Dette er delvis "
"fordi vi ganske enkelt har en tendens til å engasjere oss i flokkatferd, men "
"det er også fordi en stor følgeskare delvis er indikator på kvalitet eller "
"nytteverdi.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2012
msgid "Use CC to get attribution and name recognition"
msgstr "Bruk av CC for å få henvisninger og anerkjennelse"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2026
#, fuzzy
#| msgid ""
#| "James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005), "
#| "124. Surowiecki says, “The measure of success of laws and contracts is "
#| "how rarely they are invoked.”"
msgid ""
"James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005), 124. "
"Surowiecki says, <quote>The measure of success of laws and contracts is how "
"rarely they are invoked.</quote>"
msgstr ""
"James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005), 124. "
"Surowiecki uttaler: <quote>Målestokken på lover og kontrakters vellykkethet, "
"er sjeldenheten av deres anvendelse.</quote>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2014
msgid ""
"Every Creative Commons license requires that credit be given to the author, "
"and that reusers supply a link back to the original source of the material. "
"CC0, not a license but a tool used to put work in the public domain, does "
"not make attribution a legal requirement, but many communities still give "
"credit as a matter of best practices and social norms. In fact, it is social "
"norms, rather than the threat of legal enforcement, that most often motivate "
"people to provide attribution and otherwise comply with the CC license terms "
"anyway. This is the mark of any well-functioning community, within both the "
"marketplace and the society at large.<placeholder type=\"footnote\" id=\"0\"/"
"> CC licenses reflect a set of wishes on the part of creators, and in the "
"vast majority of circumstances, people are naturally inclined to follow "
"those wishes. This is particularly the case for something as straightforward "
"and consistent with basic notions of fairness as providing credit."
msgstr ""
"Hver Creative Commons-lisens krever at forfatteren gis referanse, og at "
"gjenbrukere lenker tilbake til den opprinnelige kilden for materialet. CC0, "
"ikke en lisens, men et verktøy som brukes til å legge arbeider ut i den "
"offentlige sfæren, krever juridisk sett ikke henvisning, men mange "
"fellesskap gir fortsatt henvisninger i tråd med beste praksis og sosiale "
"normer. Faktisk er det sosiale normer, heller enn trusselen om juridiske "
"håndhevelse, som oftest uansett motiverer folk til å henvise, og ellers "
"overholde lisensvilkårene i CC. Dette er kjennetegnet på et velfungerende "
"fellesskap, både i markedet og samfunnet som  sådan.<placeholder type="
"\"footnote\" id=\"0\"/> CC-lisenser gjenspeiler et sett ønsker fra "
"bidragsyterne, og i de aller fleste tilfeller er folk naturligvis "
"tilbøyelige til å følge disse ønskene. Dette er spesielt tilfellet for noe "
"så enkelhetlig, og i samsvar med grunnleggende forestillinger om rimelighet, "
"som å gi henvisning."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2037
msgid ""
"The fact that the name of the creator follows a CC-licensed work makes the "
"licenses an important means to develop a reputation or, in corporate speak, "
"a brand. The drive to associate your name with your work is not just based "
"on commercial motivations, it is fundamental to authorship.  Knowledge "
"Unlatched is a nonprofit that helps to subsidize the print production of CC-"
"licensed academic texts by pooling contributions from libraries around the "
"United States. The CEO, Frances Pinter, says that the Creative Commons "
"license on the works has a huge value to authors because reputation is the "
"most important currency for academics. Sharing with CC is a way of having "
"the most people see and cite your work."
msgstr ""
"Det faktum at navnet på innholdsleverandøren følger med i et CC-lisensiert "
"arbeid, gjør lisensene til et viktig middel for etablering av omdømme, eller "
"på bedriftsspråk, en merkevare. Drivkraften bak å knytte ditt navn til ditt "
"arbeid er ikke bare kommersielt motivert, det er grunnleggende i "
"forfatterskapet.  Åpenhet - Knowledge Unlatched (KU) - er en ideell egenskap "
"som bidrar til å subsidiere produksjonen av CC-lisensierte akademiske "
"tekster ved samling og deling av bidrag fra biblioteker rundt i USA. "
"Direktøren, Frances Pinter, sier at Creative Commons-lisensisering av verker "
"har en stor verdi for forfattere, siden omdømme er den viktigste valutaen "
"for akademikere. Deling med CC er en måte å få flest til å se og sitere ditt "
"arbeide."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2051
msgid ""
"Attribution can be about more than just receiving credit. It can also be "
"about establishing provenance. People naturally want to know where content "
"came from—the source of a work is sometimes just as interesting as the work "
"itself. Opendesk is a platform for furniture designers to share their "
"designs.  Consumers who like those designs can then get matched with local "
"makers who turn the designs into real-life furniture.  The fact that I, "
"sitting in the middle of the United States, can pick out a design created by "
"a designer in Tokyo and then use a maker within my own community to "
"transform the design into something tangible is part of the power of their "
"platform. The provenance of the design is a special part of the product."
msgstr ""
"Å bli navngitt kan handle om mer enn bare å gjøre ære på skaper. Det kan "
"også handle om å etablere kilden. Naturligvis ønsker folk å vite hvor "
"innholdet kom fra – kilden til et arbeid er noen ganger like interessant som "
"selve arbeidet. Opendesk er en plattform der møbeldesignere kan dele sine "
"design. Forbrukere som liker disse kan deretter kobles til lokale "
"produsenter som igjen omsetter tegninger til virkelige møbler. Det faktum at "
"jeg sitter i USA, kan plukke ut et design laget av en designer i Tokyo, og "
"deretter bruke en produsent i mitt eget lokalsamfunn til å forvandle "
"designet til noe håndfast, er en del av plattformens kraft. Opphavet til "
"designet blir en spesiell del av produktet."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2066
msgid ""
"Knowing the source of a work is also critical to ensuring its credibility. "
"Just as a trademark is designed to give consumers a way to identify the "
"source and quality of a particular good and service, knowing the author of a "
"work gives the public a way to assess its credibility. In a time when online "
"discourse is plagued with misinformation, being a trusted information source "
"is more valuable than ever."
msgstr ""
"Å vite hvor arbeidet kommer fra er også avgjørende for troverdigheten. "
"Akkurat som et varemerke er utformet for å gi forbrukerne mulighet til å "
"identifisere kilden og kvaliteten til et bestemt gode og en tjeneste, gir "
"det publikum å kjenne forfatteren en mulighet til å vurdering av arbeidets "
"troverdighet. I en tid der nettdiskusjon er plaget av feilinformasjon, er "
"det å være en pålitelig informasjonskilde mer verdifullt enn noensinne."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2076
msgid "Use CC-licensed content as a marketing tool"
msgstr "Å bruke CC-lisensiert innhold som markedsføringsverktøy"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2078
msgid ""
"As we will cover in more detail later, many endeavors that are Made with "
"Creative Commons make money by providing a product or service other than the "
"CC-licensed work. Sometimes that other product or service is completely "
"unrelated to the CC content. Other times it’s a physical copy or live "
"performance of the CC content. In all cases, the CC content can attract "
"people to your other product or service."
msgstr ""
"Som vi vil dekke i nærmere detalj senere; mange arbeider som er <quote>Made "
"with Creative Commons</quote> tjener penger ved å tilby et annet produkt "
"eller en tjeneste enn det CC-lisensierte arbeidet. Noen ganger er det andre "
"produktet eller tjenesten ikke relatert til CC-innholdet. Andre ganger er "
"det en fysisk utgave eller forestillinger med innholdet. I alle tilfeller "
"kan CC-innholdet trekke folk til dine andre produkter eller tjenester."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2100
#, fuzzy
msgid "Anderson, Free, 44."
msgstr "Anderson, Free, 44."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2087
msgid ""
"Knowledge Unlatched’s Pinter told us she has seen time and again how "
"offering CC-licensed content—that is, digitally for free—actually increases "
"sales of the printed goods because it functions as a marketing tool. We see "
"this phenomenon regularly with famous artwork. The Mona Lisa is likely the "
"most recognizable painting on the planet. Its ubiquity has the effect of "
"catalyzing interest in seeing the painting in person, and in owning physical "
"goods with the image. Abundant copies of the content often entice more "
"demand, not blunt it.  Another example came with the advent of the radio. "
"Although the music industry did not see it coming (and fought it!), free "
"music on the radio functioned as advertising for the paid version people "
"bought in music stores.<placeholder type=\"footnote\" id=\"0\"/> Free can be "
"a form of promotion."
msgstr ""
"Pinter fra Knowlegde Unlatched fortalte oss at hun igjen og igjen har sett "
"hvordan det å tilby CC-lisensiert innhold – som er digitalt gratis – faktisk "
"øker salget av de trykte varene, fordi det fungerer som et "
"markedsføringsverktøy. Vi ser dette fenomenet regelmessig med kjente "
"kunstverk. Mona Lisa er trolig det mest gjenkjennelige maleriet på planeten. "
"Denne allestedsnærværelsen utløser interessen for å selv ville se maleriet, "
"og eie fysiske avbildede goder. Rikelig med kopier av innholdet lokker ofte "
"mer etterspørsel med seg, ikke mindre. Et annet eksempel var da radioen kom. "
"Selv om musikkbransjen ikke så det komme (og kjempet mot den!), fungerte "
"gratis musikk på radio som reklame for den betalte versjonen folk kjøpte i "
"musikkforretninger.<placeholder type=\"footnote\" id=\"0\"/> Gratis kan være "
"en form for markedsføring."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2104
msgid ""
"In some cases, endeavors that are Made with Creative Commons do not even "
"need dedicated marketing teams or marketing budgets. Cards Against Humanity "
"is a CC-licensed card game available as a free download. And because of this "
"(thanks to the CC license on the game), the creators say it is one of the "
"best-marketed games in the world, and they have never spent a dime on "
"marketing. The textbook publisher OpenStax has also avoided hiring a "
"marketing team. Their products are free, or cheaper to buy in the case of "
"physical copies, which makes them much more attractive to students who then "
"demand them from their universities. They also partner with service "
"providers who build atop the CC-licensed content and, in turn, spend money "
"and resources marketing those services (and by extension, the OpenStax "
"textbooks)."
msgstr ""
"I noen tilfeller trenger arbeid utført med Creative Commons ikke engang egne "
"markedsføringsteam eller -budsjetter. Cards Against Humanity er et CC-"
"lisensiert kortspill tilgjengelig per gratis nedlasting. På grunn av dette, "
"(takket være spillets CC-lisens,) sier de som laget det at det en av de best "
"markedsførte spillene i verden, og at de ikke har brukt én krone på "
"markedsføring. Lærebokutgiveren OpenStax har også sluppet å ansette et "
"markedsføringslag. Deres produkter er gratis, eller billigere å kjøpe som "
"fysiske kopier, noe som gjør dem mye mer attraktive for studenter, som "
"deretter krever dem fra sine universiteter.  De samarbeider også med "
"tjenesteleverandører som bygger videre oppå det CC-lisensierte innholdet og, "
"igjen, bruker penger og ressurser på å markedsføre disse tjenestene (og "
"dermed OpenStax-lærebøker)."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2121
msgid "Use CC to enable hands-on engagement with your work"
msgstr ""
"Bruk av CC til å aktivere egenhendig engasjement, altså aktiv deltakelse i "
"og med arbeidet ditt"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2124
msgid ""
"The great promise of Creative Commons licensing is that it signifies an "
"embrace of remix culture. Indeed, this is the great promise of digital "
"technology. The Internet opened up a whole new world of possibilities for "
"public participation in creative work."
msgstr ""
"Den store lovnaden med Creative Commons-lisensiering er at den omfavner en "
"remiksingskultur. Dette er faktisk det store løftet ved digital teknologi. "
"Internett åpnet opp en helt ny verden av muligheter for offentlig deltakelse "
"i skapende arbeid."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2138
#, fuzzy
msgid "Osterwalder and Pigneur, Business Model Generation, 23."
msgstr "Osterwalder og Pigneur, Business Model Generation, 23."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2131
msgid ""
"Four of the six CC licenses enable reusers to take apart, build upon, or "
"otherwise adapt the work. Depending on the context, adaptation can mean "
"wildly different things—translating, updating, localizing, improving, "
"transforming. It enables a work to be customized for particular needs, uses, "
"people, and communities, which is another distinct value to offer the public."
"<placeholder type=\"footnote\" id=\"0\"/> Adaptation is more game changing "
"in some contexts than others. With educational materials, the ability to "
"customize and update the content is critically important for its usefulness. "
"For photography, the ability to adapt a photo is less important."
msgstr ""
"Fire av de seks CC-lisensene åpner for å bygge på gjenbruk, eller på andre "
"måter tilpasse arbeidet. Avhengig av sammenhengen, kan tilpasning bety vidt "
"forskjellige ting – oversettelse, oppdatering, lokalisering, forbedring, "
"transformering. De gjør det mulig å tilpasse et arbeid for spesielle behov, "
"bruk, mennesker og samfunn, som er en annen distinkt verdi å tilby til "
"offentligheten.<placeholder type=\"footnote\" id=\"0\"/> Tilpasning endrer "
"spillereglene mer i noen sammenhenger enn i andre. Med læremidler er "
"muligheten til å tilpasse og oppdatere innholdet kritisk viktig for "
"nytteverdien. For fotografi er muligheten til å tilpasse et bilde mindre "
"viktig."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2151
#, fuzzy
msgid "Anderson, Free, 67."
msgstr "Anderson, Free, 67."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2156
#, fuzzy
msgid "Ibid., 58."
msgstr "Ibid., 58."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2159
#, fuzzy
msgid "Anderson, Makers, 71."
msgstr "Anderson, Makers, 71."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2164
#, fuzzy
msgid ""
"Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators (London: Penguin Books, 2010), 78."
msgstr ""
"Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators (London: Penguin Books, 2010), 78."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2146
#, fuzzy
#| msgid ""
#| "This is a way to counteract a potential downside of the abundance of free "
#| "and open content described above. As Anderson wrote in Free, “People "
#| "often don’t care as much about things they don’t pay for, and as a result "
#| "they don’t think as much about how they consume them.”<placeholder type="
#| "\"footnote\" id=\"0\"/> If even the tiny act of volition of paying one "
#| "penny for something changes our perception of that thing, then surely the "
#| "act of remixing it enhances our perception exponentially.<placeholder "
#| "type=\"footnote\" id=\"1\"/> We know that people will pay more for "
#| "products they had a part in creating.<placeholder type=\"footnote\" id="
#| "\"2\"/> And we know that creating something, no matter what quality, "
#| "brings with it a type of creative satisfaction that can never be replaced "
#| "by consuming something created by someone else.<placeholder type="
#| "\"footnote\" id=\"3\"/>"
msgid ""
"This is a way to counteract a potential downside of the abundance of free "
"and open content described above. As Anderson wrote in Free, <quote>People "
"often don’t care as much about things they don’t pay for, and as a result "
"they don’t think as much about how they consume them.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> If even the tiny act of volition of paying one "
"penny for something changes our perception of that thing, then surely the "
"act of remixing it enhances our perception exponentially.<placeholder type="
"\"footnote\" id=\"1\"/> We know that people will pay more for products they "
"had a part in creating.<placeholder type=\"footnote\" id=\"2\"/> And we know "
"that creating something, no matter what quality, brings with it a type of "
"creative satisfaction that can never be replaced by consuming something "
"created by someone else.<placeholder type=\"footnote\" id=\"3\"/>"
msgstr ""
"Dette finnes en måte å motvirke mulige ulemper i overfloden av gratis og "
"åpent innhold beskrevet ovenfor. Som Anderson skrev i Free, <quote>Folk bryr "
"seg ofte ikke så mye om ting de ikke betaler for, og som resultat tenker de "
"ikke så mye på hvordan de bruker dem</quote>.<placeholder type=\"footnote\" "
"id=\"0\"/> Hvis selv den lille viljen iboende i å betale ett øre for noe, "
"endrer vår oppfatning derav, vil med sikkerhet det å remikse forbedre vår "
"oppfatning eksponentielt.<placeholder type=\"footnote\" id=\"1\"/> Vi vet at "
"folk betaler mer for produkter de har hatt en rolle i å lage.<placeholder "
"type=\"footnote\" id=\"2\"/> Vi vet også at å skape noe, uansett i hvilken "
"kapasitet, bringer med seg en slags kreativ tilfredshet som ikke lar seg "
"erstatte av å bruke noe laget av andre.<placeholder type=\"footnote\" id="
"\"3\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2177
#, fuzzy
msgid "Ibid., 21."
msgstr "Ibid., 21."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2170
msgid ""
"Actively engaging with the content helps us avoid the type of aimless "
"consumption that anyone who has absentmindedly scrolled through their social-"
"media feeds for an hour knows all too well. In his book, Cognitive Surplus, "
"Clay Shirky says, <quote>To participate is to act as if your presence "
"matters, as if, when you see something or hear something, your response is "
"part of the event.</quote><placeholder type=\"footnote\" id=\"0\"/> Opening "
"the door to your content can get people more deeply tied to your work."
msgstr ""
"Å imøtegå innholdet aktivt hjelper oss å unngå det målløse forbruket som "
"enhver som fraværende har skrollet en time gjennom sine sosiale "
"mediastrømmer kjenner så alt for godt.  I sin bok, Cognitive Surplus, sier "
"Clay Shirky, <quote>Å delta er å agere i den tro at din tilstedeværelse "
"betyr noe, som at når du ser noe eller hører noe, er ditt svar en del av det "
"som skjer</quote>.<placeholder type=\"footnote\" id=\"0\"/> Når du åpner "
"døra inn til innholdet ditt så kan folk få en dypere tilknytning til "
"arbeidet ditt."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2183
msgid "Use CC to differentiate yourself"
msgstr "Bruk av CC for å skille seg ut"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2192
msgid "Doctorow, Information Doesn’t Want to Be Free, 43."
msgstr "Doctorow, Information Doesn’t Want to Be Free, 43."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2185
#, fuzzy
#| msgid ""
#| "Operating under a traditional copyright regime usually means operating "
#| "under the rules of establishment players in the media. Business "
#| "strategies that are embedded in the traditional copyright system, like "
#| "using digital rights management (DRM) and signing exclusivity contracts, "
#| "can tie the hands of creators, often at the expense of the creator’s best "
#| "interest.<placeholder type=\"footnote\" id=\"0\"/> Being Made with "
#| "Creative Commons means you can function without those barriers and, in "
#| "many cases, use the increased openness as a competitive advantage. David "
#| "Harris from OpenStax said they specifically pursue strategies they know "
#| "that traditional publishers cannot. “Don’t go into a market and play by "
#| "the incumbent rules,” David said. “Change the rules of engagement.”"
msgid ""
"Operating under a traditional copyright regime usually means operating under "
"the rules of establishment players in the media. Business strategies that "
"are embedded in the traditional copyright system, like using digital rights "
"management (DRM) and signing exclusivity contracts, can tie the hands of "
"creators, often at the expense of the creator’s best interest.<placeholder "
"type=\"footnote\" id=\"0\"/> Being Made with Creative Commons means you can "
"function without those barriers and, in many cases, use the increased "
"openness as a competitive advantage. David Harris from OpenStax said they "
"specifically pursue strategies they know that traditional publishers cannot. "
"<quote>Don’t go into a market and play by the incumbent rules,</quote> David "
"said.  <quote>Change the rules of engagement.</quote>"
msgstr ""
"Å operere under et tradisjonelt opphavsrettsregime betyr vanligvis reglene "
"til etablerte medieaktører. Forretningsstrategier innebygd i det "
"tradisjonelle opphavsrettssystemet, i bruk av digital rettinghetshåndtering "
"(DRM)  og signering av eksklusivitetskontrakter, kan binde "
"innholdsleverandørers hender, ofte på bekostning av opphavets beste "
"interesse.<placeholder type=\"footnote\" id=\"0\"/> Laget med Creative "
"Commons betyr at du kan fungere uten disse barrierene, og i mange tilfeller "
"bruke økt åpenhet som konkurransefortrinn. David Harris fra OpenStax sa at "
"de spesielt forfulgte strategier de vet tradisjonelle utgivere ikke kan. "
"<quote>Ikke gå inn i et marked og lek med de etablerte reglene</quote>,  sa "
"David. <quote>Reglene for engasjement må endres</quote>."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2204
msgid "Making Money"
msgstr "Å tjene penger"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2214
#, fuzzy
#| msgid ""
#| "William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten "
#| "Nonprofit Funding Models,” Stanford Social Innovation Review, Spring "
#| "2009, <ulink url=\"http://ssir.org/articles/entry/"
#| "ten_nonprofit_funding_models\"/>."
msgid ""
"William Landes Foster, Peter Kim, and Barbara Christiansen, <quote>Ten "
"Nonprofit Funding Models,</quote> Stanford Social Innovation Review, Spring "
"2009, <ulink url=\"http://ssir.org/articles/entry/"
"ten_nonprofit_funding_models\"/>."
msgstr ""
"William Landes Foster, Peter Kim, og Barbara Christiansen, “Ten Nonprofit "
"Funding Models,” Stanford Social Innovation Review, Spring 2009, <ulink url="
"\"http://ssir.org/articles/entry/ten_nonprofit_funding_models\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2206
msgid ""
"Like any moneymaking endeavor, those that are Made with Creative Commons "
"have to generate some type of value for their audience or customers. "
"Sometimes that value is subsidized by funders who are not actually "
"beneficiaries of that value. Funders, whether philanthropic institutions, "
"governments, or concerned individuals, provide money to the organization out "
"of a sense of pure altruism. This is the way traditional nonprofit funding "
"operates.<placeholder type=\"footnote\" id=\"0\"/> But in many cases, the "
"revenue streams used by endeavors that are Made with Creative Commons are "
"directly tied to the value they generate, where the recipient is paying for "
"the value they receive like any standard market transaction. In still other "
"cases, rather than the quid pro quo exchange of money for value that "
"typically drives market transactions, the recipient gives money out of a "
"sense of reciprocity."
msgstr ""
"Som ethvert foretagende som tjener penger, må det som lages med Creative "
"Commons bringe sitt publikum eller forbrukere nytteverdi. Noen ganger "
"subsidieres verdien av bidragsytere som ikke nyter godt av den direkte. "
"Bidragsytere, enten veldedige institusjoner, myndigheter, eller folk som "
"bryr seg, gir penger til organisasjonen av egen vilje. Dette er måten vanlig "
"veldedig finansiering virker på.<placeholder type=\"footnote\" id=\"0\"/> I "
"mange tilfeller er pengestrømmene som genereres av arbeid laget med Creative "
"Commons direkte knyttet til verdien de genererer, der mottakere betaler for "
"verdien de mottar, som i enhver annen standard markedstransaksjon. I mange "
"andre tilfeller, snarere enn i en noe-for-noe-utveksling  av penger for "
"verdi (<quote>en tjeneste er en annen verdt</quote>), som typisk for "
"markedstransaksjoner, gir mottakeren penger i forståelse av gjensidighet."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2235
msgid "Shirky, Cognitive Surplus, 111."
msgstr "Shirky, Cognitive Surplus, 111."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2227
#, fuzzy
#| msgid ""
#| "Most who are Made with Creative Commons use a variety of methods to bring "
#| "in revenue, some market-based and some not. One common strategy is using "
#| "grant funding for content creation when research-and-development costs "
#| "are particularly high, and then finding a different revenue stream (or "
#| "streams) for ongoing expenses. As Shirky wrote, “The trick is in knowing "
#| "when markets are an optimal way of organizing interactions and when they "
#| "are not.”<placeholder type=\"footnote\" id=\"0\"/>"
msgid ""
"Most who are Made with Creative Commons use a variety of methods to bring in "
"revenue, some market-based and some not. One common strategy is using grant "
"funding for content creation when research-and-development costs are "
"particularly high, and then finding a different revenue stream (or streams) "
"for ongoing expenses. As Shirky wrote, <quote>The trick is in knowing when "
"markets are an optimal way of organizing interactions and when they are not."
"</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Det meste som er laget med Creative Commons bruker en rekke ulike metoder "
"for å bringe inn omsetning, noen markedsbaserte og andre ikke. En vanlig "
"strategi er å bruke eksterne bevilgninger til innhold når forsknings- og "
"utviklingskostnader er spesielt høye, og deretter finne en annen "
"inntektsstrøm (eller strømmer) til påløpende utgifter. Som Shirky skrev, er "
"<quote>trikset å vite når markedene er en optimal måte å organisere "
"interaksjoner på og når de ikke er det</quote>.<placeholder type=\"footnote"
"\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2239
msgid ""
"Our case studies explore in more detail the various revenue-generating "
"mechanisms used by the creators, organizations, and businesses we "
"interviewed. There is nuance hidden within the specific ways each of them "
"makes money, so it is a bit dangerous to generalize too much about what we "
"learned.  Nonetheless, zooming out and viewing things from a higher level of "
"abstraction can be instructive."
msgstr ""
"Våre referansestudier gjennomgår nærmere de ulike veiene til å skaffe "
"inntekter til innholdsleverandører, organisasjoner og bedrifter vi "
"intervjuet. Det er nyanser skjult i de spesifikke måtene hver og en av dem "
"tjener penger på, så det er litt farlig å generalisere for mye fra hva vi "
"fant. Likevel, å ta et skritt tilbake og vise ting fra et høyere "
"abstraksjonsnivå, kan være lærerikt."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2248
msgid "Market-based revenue streams"
msgstr "Markedsbaserte inntektsstrømmer"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2253
msgid "Osterwalder and Pigneur, Business Model Generation, 30."
msgstr "Osterwalder og Pigneur, Business Model Generation, 30."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2260
msgid ""
"Jim Whitehurst, The Open Organization: Igniting Passion and Performance "
"(Boston: Harvard Business Review Press, 2015), 202."
msgstr ""
"Jim Whitehurst, The Open Organization: Igniting Passion and Performance "
"(Boston: Harvard Business Review Press, 2015), 202."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2250
msgid ""
"In the market, the central question when determining how to bring in revenue "
"is what value people are willing to pay for.<placeholder type=\"footnote\" "
"id=\"0\"/> By definition, if you are Made with Creative Commons, the content "
"you provide is available for free and not a market commodity. Like the "
"ubiquitous freemium business model, any possible market transaction with a "
"consumer of your content has to be based on some added value you provide."
"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"I markedet er det sentrale spørsmålet når vi bestemmer hvordan vi skal få "
"inntekter, hvor mye folk er villige til å betale.<placeholder type=\"footnote"
"\" id=\"0\"/> Per definisjon, hvis du bruker Made with Creative Commons, er "
"innholdet du gir tilgjengelig gratis og ikke en markedsvare. I den "
"allestedsnærværende freemium-modellen (som kombinerer <quote>free</quote> og "
"<quote>premium</quote>-utgaver av et produkt eller en tjeneste, der "
"inntjeningen ligger i premium-utgaven), må enhver markedstransaksjon med en "
"forbruker av innholdet være basert på en verdiøkning du tilbyr.<placeholder "
"type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2276
msgid "Anderson, Free, 71."
msgstr "Anderson, Free, 71."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2266
#, fuzzy
#| msgid ""
#| "In many ways, this is the way of the future for all content-driven "
#| "endeavors. In the market, value lives in things that are scarce. Because "
#| "the Internet makes a universe of content available to all of us for free, "
#| "it is difficult to get people to pay for content online. The struggling "
#| "newspaper industry is a testament to this fact. This is compounded by the "
#| "fact that at least some amount of copying is probably inevitable. That "
#| "means you may end up competing with free versions of your own content, "
#| "whether you condone it or not.<placeholder type=\"footnote\" id=\"0\"/> "
#| "If people can easily find your content for free, getting people to buy it "
#| "will be difficult, particularly in a context where access to content is "
#| "more important than owning it. In Free, Anderson wrote, “Copyright "
#| "protection schemes, whether coded into either law or software, are simply "
#| "holding up a price against the force of gravity.”"
msgid ""
"In many ways, this is the way of the future for all content-driven "
"endeavors. In the market, value lives in things that are scarce. Because the "
"Internet makes a universe of content available to all of us for free, it is "
"difficult to get people to pay for content online. The struggling newspaper "
"industry is a testament to this fact. This is compounded by the fact that at "
"least some amount of copying is probably inevitable. That means you may end "
"up competing with free versions of your own content, whether you condone it "
"or not.<placeholder type=\"footnote\" id=\"0\"/> If people can easily find "
"your content for free, getting people to buy it will be difficult, "
"particularly in a context where access to content is more important than "
"owning it. In Free, Anderson wrote, <quote>Copyright protection schemes, "
"whether coded into either law or software, are simply holding up a price "
"against the force of gravity.</quote>"
msgstr ""
"På mange måter er dette veien fremover for alle innholdsdrevne bestrebelser. "
"I markedet ligger verdien i ting som er mangelvare. Med Internetter som et "
"gratis tilgjengelig univers av innhold for oss, er det vanskelig å få folk "
"til å betale for innhold på nettet. Den kjempende avisbransjen er et uttrykk "
"for dette faktum. Dette er forverret av det faktum at i det minste er noe "
"kopiering trolig uunngåelig. Det betyr at du kan ende opp med å  konkurrere "
"med gratis versjoner av ditt eget innhold, enten du ser gjennom fingrene med "
"det eller ikke.<placeholder type=\"footnote\" id=\"0\"/> Hvis folk lett kan "
"finne innholdet gratis, vil det være vanskelig å få folk til å kjøpe det, "
"spesielt i en kontekst der tilgang til innhold er viktigere enn å eie den. I "
"Free skrev Anderson: <quote>Opphavsrettigheter, enten regelfestet i lov "
"eller i programvaren, er i enkelhet å holde en pris opp imot tyngdekraften</"
"quote>."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2295
msgid "Ibid., 231."
msgstr "Ibid., 231."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2285
#, fuzzy
#| msgid ""
#| "Of course, this doesn’t mean that content-driven endeavors have no future "
#| "in the traditional marketplace. In Free, Anderson explains how when one "
#| "product or service becomes free, as information and content largely have "
#| "in the digital age, other things become more valuable. “Every abundance "
#| "creates a new scarcity,” he wrote. You just have to find some way other "
#| "than the content to provide value to your audience or customers. As "
#| "Anderson says, “It’s easy to compete with Free: simply offer something "
#| "better or at least different from the free version.”<placeholder type="
#| "\"footnote\" id=\"0\"/>"
msgid ""
"Of course, this doesn’t mean that content-driven endeavors have no future in "
"the traditional marketplace. In Free, Anderson explains how when one product "
"or service becomes free, as information and content largely have in the "
"digital age, other things become more valuable. <quote>Every abundance "
"creates a new scarcity,</quote> he wrote. You just have to find some way "
"other than the content to provide value to your audience or customers. As "
"Anderson says, <quote>It’s easy to compete with Free: simply offer something "
"better or at least different from the free version.</quote><placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Dette betyr selvfølgelig at innholdsdrevne bestrebelser ikke har noen "
"fremtid på den tradisjonelle markedsplassen. I Free forklarer Anderson at "
"når et produkt eller en tjeneste blir gratis, som informasjon og innhold i "
"stor grad blir i den digitale tidsalderen, blir andre ting mer verdifulle.  "
"<quote>Hver overflod skaper en ny knapphet</quote>, skrev han. Du må bare "
"finne en måte annet enn enn innholdet for å gi verdi til brukere eller "
"kunder. Som Anderson sier, <quote>det er lett å konkurrere med Free: Bare "
"tilby noe bedre, eller i det minste ulik gratisversjonen</quote>."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2299
msgid ""
"In light of this reality, in some ways endeavors that are Made with Creative "
"Commons are at a level playing field with all content-based endeavors in the "
"digital age. In fact, they may even have an advantage because they can use "
"the abundance of content to derive revenue from something scarce. They can "
"also benefit from the goodwill that stems from the values behind being Made "
"with Creative Commons."
msgstr ""
"I lys av denne virkeligheten er det på noen måter slik innhold Made with "
"Creative Commons er på samme bane som alle innholdsbaserte produkter i den "
"digitale tidsalderen. De kan faktisk selv ha en fordel fordi de kan bruke "
"overfloden av innhold til å få inntekter fra noen knappe ressurser. De kan "
"også nyttiggjøre seg velviljen som stammer fra verdiene bak å være Made with "
"Creative Commons."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2308
msgid ""
"For content creators and distributors, there are nearly infinite ways to "
"provide value to the consumers of your work, above and beyond the value that "
"lives within your free digital content. Often, the CC-licensed content "
"functions as a marketing tool for the paid product or service."
msgstr ""
"For innholdskapere og distributører er det nesten uendelige måter å gi verdi "
"til forbrukerne av ditt arbeid, over og utover verdien av det som er "
"innenfor ditt gratis digitale innhold. Ofte fungerer det CC-lisensierte "
"innholdet som et markedsføringsverktøy for de betalte produkter eller "
"tjenester."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2315
msgid "Here are the most common high-level categories."
msgstr "Her er de vanligste høynivå kategoriene."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2319
msgid ""
"Providing a custom service to consumers of your work <emphasis>[MARKET-"
"BASED]</emphasis>"
msgstr ""
"Å tilby en tilpasset tjeneste til brukere av ditt arbeid  "
"<emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2329
msgid "Ibid., 97."
msgstr "Ibid., 97."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2322
#, fuzzy
#| msgid ""
#| "In this age of information abundance, we don’t lack for content. The "
#| "trick is finding content that matches our needs and wants, so customized "
#| "services are particularly valuable.  As Anderson wrote, “Commodity "
#| "information (everybody gets the same version) wants to be free. "
#| "Customized information (you get something unique and meaningful to you) "
#| "wants to be expensive.”<placeholder type=\"footnote\" id=\"0\"/> This can "
#| "be anything from the artistic and cultural consulting services provided "
#| "by Ártica to the custom-song business of Jonathan “Song-A-Day” Mann."
msgid ""
"In this age of information abundance, we don’t lack for content. The trick "
"is finding content that matches our needs and wants, so customized services "
"are particularly valuable.  As Anderson wrote, <quote>Commodity information "
"(everybody gets the same version) wants to be free. Customized information "
"(you get something unique and meaningful to you)  wants to be expensive.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> This can be anything from "
"the artistic and cultural consulting services provided by Ártica to the "
"custom-song business of Jonathan <quote>Song-A-Day</quote> Mann."
msgstr ""
"I denne informasjonsalderens overflod mangler vi ikke innhold. Trikset er å "
"finne innhold som samsvarer med våre behov og ønsker, så tilpassede "
"tjenester er spesielt verdifulle. Som Anderson skrev, <quote>Vareinformasjon "
"(alle får den samme versjonen) ønsker å være fri. Tilpasset informasjon (du "
"får noe unikt og meningsfullt for deg) ønsker å være dyr</quote>."
"<placeholder type=\"footnote\" id=\"0\"/> Dette kan være alt fra "
"kunstneriske og kulturelle rådgivingstjenester som tilbys av Ártica til det "
"skreddersydde sangtilbudet fra Jonathan <quote>Song-A-Day</quote> Mann."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2337
msgid "Charging for the physical copy <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Å ta betalt for den fysiske kopien <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2344
msgid "Anderson, Makers, 107."
msgstr "Anderson, Makers, 107."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2340
msgid ""
"In his book about maker culture, Anderson characterizes this model as giving "
"away the bits and selling the atoms (where bits refers to digital content "
"and atoms refer to a physical object).<placeholder type=\"footnote\" id="
"\"0\"/> This is particularly successful in domains where the digital version "
"of the content isn’t as valuable as the analog version, like book publishing "
"where a significant subset of people still prefer reading something they can "
"hold in their hands. Or in domains where the content isn’t useful until it "
"is in physical form, like furniture designs. In those situations, a "
"significant portion of consumers will pay for the convenience of having "
"someone else put the physical version together for them. Some endeavors "
"squeeze even more out of this revenue stream by using a Creative Commons "
"license that only allows noncommercial uses, which means no one else can "
"sell physical copies of their work in competition with them. This strategy "
"of reserving commercial rights can be particularly important for items like "
"books, where every printed copy of the same work is likely to be the same "
"quality, so it is harder to differentiate one publishing service from "
"another. On the other hand, for items like furniture or electronics, the "
"provider of the physical goods can compete with other providers of the same "
"works based on quality, service, or other traditional business principles."
msgstr ""
"I sin bok om <quote>maker culture</quote> (produsentkultur) karakteriserer "
"Anderson denne modellen ved at den gir bort biter og selger atomene (der "
"biter refererer til digitalt innhold og atomer refererer til et fysisk "
"objekt).<placeholder type=\"footnote\" id=\"0\"/> Dette er særlig vellykket "
"i domener der den digitale versjonen av innholdet ikke er så verdifull som "
"den analoge versjonen, som i bokpublisering der en stor undergruppe fortsatt "
"foretrekker å lese noe de kan holde i hendene, eller i domener der innholdet "
"ikke er nyttig før det er i fysisk form, som møbeldesign. I slike "
"situasjoner vil en betydelig del av forbrukerne betale for nytten av å ha "
"noen andre til å sette sammen den fysiske versjonen for dem. Noen "
"bidragsytere klemmer enda mer ut av denne inntektsstrømmen ved hjelp av en "
"Creative Commons-lisens som bare tillater ikke-kommersiell bruk, noe som "
"betyr at ingen andre kan selge fysiske kopier av arbeidet i konkurranse med "
"dem. Denne strategien for å reservere kommersielle rettigheter kan være "
"spesielt viktig for varer som bøker, der hver utskrift av det samme arbeidet "
"sannsynligvis har samme kvalitet, så det er vanskeligere å skille en "
"publiseringstjeneste fra en annen. På den annen side, for varer som møbler "
"eller elektronikk, kan leverandøren av de fysiske varene konkurrere med "
"andre leverandører av de samme varene basert på kvalitet, tjeneste eller "
"andre tradisjonelle forretningsprinsipper."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2368
msgid "Charging for the in-person version <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Å ta betalt for en personlig versjon <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2371
msgid ""
"As anyone who has ever gone to a concert will tell you, experiencing "
"creativity in person is a completely different experience from consuming a "
"digital copy on your own. Far from acting as a substitute for face-to-face "
"interaction, CC-licensed content can actually create demand for the in-"
"person version of experience. You can see this effect when people go view "
"original art in person or pay to attend a talk or training course."
msgstr ""
"Som alle som noensinne har gått på en konsert vil fortelle deg, å oppleve "
"kreativitet personlig er en helt annen opplevelse i forhold til å oppleve en "
"digital kopi på egenhånd. Langt fra å være en erstatning for å samhandle "
"ansikt til ansikt, kan CC-lisensiert innhold faktisk skape etterspørsel "
"etter å oppleve dette som en personlig erfaring. Du kan se denne effekten "
"når folk går for å se original kunst personlig, eller betaler for å delta på "
"et tale- eller opplæringskurs."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2382
msgid "Selling merchandise <emphasis>[MARKET-BASED]</emphasis>"
msgstr "Å selge handelsvarer <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2385
msgid ""
"In many cases, people who like your work will pay for products demonstrating "
"a connection to your work. As a child of the 1980s, I can personally attest "
"to the power of a good concert T-shirt. This can also be an important "
"revenue stream for museums and galleries."
msgstr ""
"I mange tilfeller vil folk som liker ditt arbeid betale for produkter som "
"viser en forbindelse til ditt arbeid. Som barn i 1980, kan jeg personlig "
"bekrefte kraften i en T-skjorte fra en god konsert. Dette kan også være en "
"viktig inntektskilde for museer og gallerier."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2402
msgid "Osterwalder and Pigneur, Business Model Generation, 89."
msgstr "Osterwalder og Pigneur, Business Model Generation, 89."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2392
msgid ""
"Sometimes the way to find a market-based revenue stream is by providing "
"value to people other than those who consume your CC-licensed content. In "
"these revenue streams, the free content is being subsidized by an entirely "
"different category of people or businesses. Often, those people or "
"businesses are paying to access your main audience. The fact that the "
"content is free increases the size of the audience, which in turn makes the "
"offer more valuable to the paying customers. This is a variation of a "
"traditional business model built on free called multi-sided platforms."
"<placeholder type=\"footnote\" id=\"0\"/> Access to your audience isn’t the "
"only thing people are willing to pay for—there are other services you can "
"provide as well."
msgstr ""
"Noen ganger kan en finne en markedsbasert inntektsstrøm ved å gi verdi til "
"andre enn dem som bruker ditt CC-lisensierte innhold. I disse "
"inntektstrømmene blir gratis innhold subsidiert av en helt annen kategori "
"personer eller bedrifter. Ofte betaler disse personene eller bedriftene for "
"tilgang til din viktigste målgruppe. Det faktum at innholdet er gratis, øker "
"størrelsen på publikumet, som igjen gjør tilbudet mer verdifullt for de "
"betalende kundene. Dette er en variant av en tradisjonell forretningsmodell "
"bygget på frie såkalte flersidige-plattformer.<placeholder type=\"footnote\" "
"id=\"0\"/> Tilgang til ditt publikum er ikke det eneste folk er villige til "
"å betale for, du kan også levere andre tjenester."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2409
msgid "Charging advertisers or sponsors <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Ta betalt fra annonsører og sponsorer <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2417
msgid "Ibid., 92."
msgstr "Ibid., 92."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2421
msgid "Anderson, Free, 142."
msgstr "Anderson, Free, 142."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2412
msgid ""
"The traditional model of subsidizing free content is advertising. In this "
"version of multi-sided platforms, advertisers pay for the opportunity to "
"reach the set of eyeballs the content creators provide in the form of their "
"audience.<placeholder type=\"footnote\" id=\"0\"/> The Internet has made "
"this model more difficult because the number of potential channels available "
"to reach those eyeballs has become essentially infinite.<placeholder type="
"\"footnote\" id=\"1\"/> Nonetheless, it remains a viable revenue stream for "
"many content creators, including those who are Made with Creative Commons. "
"Often, instead of paying to display advertising, the advertiser pays to be "
"an official sponsor of particular content or projects, or of the overall "
"endeavor."
msgstr ""
"Den tradisjonelle modellen for å subsidiere gratis innhold er reklame. I "
"denne versjonen av flersidige plattformer, betaler annonsørene for "
"muligheten til kontakt til rekken av <quote>antall øyne som ser</quote> i "
"innholdleverandørenes publikum.<placeholder type=\"footnote\" id=\"0\"/> "
"Internett har gjort denne modellen vanskeligere fordi antallet "
"tilgjengelige, mulige kanaler for å nå det aktuelle antallet er i bunn og "
"grunn blitt uendelig.<placeholder type=\"footnote\" id=\"1\"/> Likevel, det "
"er fortsatt en livskraftig inntektskilde for mange innholdsskapere, "
"inkludert dem som bruker Made with Creative Commons. Ofte, i stedet for "
"betaling for å vise reklame, betaler annonsøren for å være en offisiell "
"sponsor av et bestemt innhold,  prosjekter eller oppgaven som sådan."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2430
msgid "Charging your content creators <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Betaling fra dine innholdsleverandører <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2433
#, fuzzy
#| msgid ""
#| "Another type of multisided platform is where the content creators "
#| "themselves pay to be featured on the platform.  Obviously, this revenue "
#| "stream is only available to those who rely on work created, at least in "
#| "part, by others. The most well-known version of this model is the “author-"
#| "processing charge” of open-access journals like those published by the "
#| "Public Library of Science, but there are other variations. The "
#| "Conversation is primarily funded by a university-membership model, where "
#| "universities pay to have their faculties participate as writers of the "
#| "content on the Conversation website."
msgid ""
"Another type of multisided platform is where the content creators themselves "
"pay to be featured on the platform.  Obviously, this revenue stream is only "
"available to those who rely on work created, at least in part, by others. "
"The most well-known version of this model is the <quote>author-processing "
"charge</quote> of open-access journals like those published by the Public "
"Library of Science, but there are other variations. The Conversation is "
"primarily funded by a university-membership model, where universities pay to "
"have their faculties participate as writers of the content on the "
"Conversation website."
msgstr ""
"En annen type flersidig plattform er der de som lager innholdet selv betaler "
"for å bli omtalt på plattformen. Selvfølgelig er denne inntektsstrømmen bare "
"tilgjengelig for dem som stoler på det arbeidet som er laget, i all fall "
"delvis, av andre. Den mest kjente versjonen av denne modellen er "
"<quote>forfatteravgift</quote> i tidsskrifter med åpen tilgang som de som er "
"publisert av Public Library of Science, men det finnes også andre varianter. "
"The Conversation er primært finansiert med en "
"universitetetsmedlemskapsmodell, der universiteter betaler for at  "
"fakultetene kan ha forfattere som leverer innhold til Conversations nettside."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2447
msgid "Charging a transaction fee <emphasis>[MARKET-BASED]</emphasis>"
msgstr "Transaksjonsgebyr <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2452
msgid "Osterwalder and Pigneur, Business Model Generation, 32."
msgstr "Osterwalder og Pigneur, Business Model Generation, 32."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2450
msgid ""
"This is a version of a traditional business model based on brokering "
"transactions between parties.<placeholder type=\"footnote\" id=\"0\"/> "
"Curation is an important element of this model.  Platforms like the Noun "
"Project add value by wading through CC-licensed content to curate a high-"
"quality set and then derive revenue when creators of that content make "
"transactions with customers. Other platforms make money when service "
"providers transact with their customers; for example, Opendesk makes money "
"every time someone on their site pays a maker to make furniture based on one "
"of the designs on the platform."
msgstr ""
"Dette er en versjon av en tradisjonell modell basert på "
"meglingstransaksjoner mellom deltakere.<placeholder type=\"footnote\" id="
"\"0\"/> Utvalg og organisering er et viktig element i denne modellen. "
"Plattformer som Noun-prosjektet tilfører verdi ved å gå igjennom CC-"
"lisensiert innhold for å velge ut biter med høy kvalitet, og så utlede "
"inntekt når innholdsleverandørene gjør transaksjoner med kunder. Andre "
"plattformer tjener penger når tjenesteleverandører gjør transaksjoner med "
"kundene deres; for eksempel tjener Opendesk penger hver gang noen på deres "
"nettsted betaler en håndverker for å lage møbler basert på ett av designene "
"på plattformen."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2464
msgid ""
"Providing a service to your creators <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Levere en tjeneste til dine innholdsleverandører <emphasis>[MARKEDSBASERT]</"
"emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2467
msgid ""
"As mentioned above, endeavors can make money by providing customized "
"services to their users. Platforms can undertake a variation of this service "
"model directed at the creators that provide the content they feature. The "
"data platforms Figure.NZ and Figshare both capitalize on this model by "
"providing paid tools to help their users make the data they contribute to "
"the platform more discoverable and reusable."
msgstr ""
"Som nevnt ovenfor, kan et innhold gi fortjeneste ved at det leveres "
"tilpassede tjenester til brukerne. Plattformer kan gi en variant av denne "
"tjenestemodellen rettet mot innholdsleverandører som legger inn et innhold "
"de får omtalt. Dataplattformene Figure.NZ og Figshare utnytter denne "
"modellen ved å tilby betalte verktøy for å hjelpe sine brukere å gjøre "
"dataene de bidrar med til plattformen mer synlige og gjenbrukbare."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2477
msgid "Licensing a trademark <emphasis>[MARKET-BASED]</emphasis>"
msgstr "Lisensiere et varemerke <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2480
msgid ""
"Finally, some that are Made with Creative Commons make money by selling use "
"of their trademarks. Well known brands that consumers associate with "
"quality, credibility, or even an ethos can license that trademark to "
"companies that want to take advantage of that goodwill. By definition, "
"trademarks are scarce because they represent a particular source of a good "
"or service. Charging for the ability to use that trademark is a way of "
"deriving revenue from something scarce while taking advantage of the "
"abundance of CC content."
msgstr ""
"Endelig tjener noen som er laget med Creative Commons penger på å selge bruk "
"av varemerker. Kjente merker som forbrukerne forbinder med kvalitet, "
"troverdighet, eller selv en holdning (etos) kan lisensiere varemerket til "
"selskaper som ønsker å dra nytte av dets goodwill. Per definisjon er "
"varemerker knappe fordi de representerer et bestemt opphav for et gode eller "
"en tjeneste. Å ta betalt for muligheten til å bruke det varemerket er en "
"måte å skaffe inntekt fra noe det er knapphet på, og samtidig utnytte "
"fordelen av overfloden av CC-innhold."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2492
msgid "Reciprocity-based revenue streams"
msgstr "Gjensidighetsbaserte inntektsstrømmer"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2494
msgid ""
"Even if we set aside grant funding, we found that the traditional economic "
"framework of understanding the market failed to fully capture the ways the "
"endeavors we analyzed were making money. It was not simply about monetizing "
"scarcity."
msgstr ""
"Selv om vi setter til side velgjørenhetsfinansiering, fant vi at "
"tradisjonelle økonomiske rammen for å forstå  markedet ikke fullt ut fanger "
"måtene den innsatsen vi analyserte for å tjene penger. Det handlet ikke bare "
"om å tjene penger på knapphet."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2501
#, fuzzy
#| msgid ""
#| "Rather than devising a scheme to get people to pay money in exchange for "
#| "some direct value provided to them, many of the revenue streams were more "
#| "about providing value, building a relationship, and then eventually "
#| "finding some money that flows back out of a sense of reciprocity. While "
#| "some look like traditional nonprofit funding models, they aren’t charity. "
#| "The endeavor exchange value with people, just not necessarily "
#| "synchronously or in a way that requires that those values be equal. As "
#| "David Bollier wrote in Think Like a Commoner, “There is no self-serving "
#| "calculation of whether the value given and received is strictly equal.”"
msgid ""
"Rather than devising a scheme to get people to pay money in exchange for "
"some direct value provided to them, many of the revenue streams were more "
"about providing value, building a relationship, and then eventually finding "
"some money that flows back out of a sense of reciprocity. While some look "
"like traditional nonprofit funding models, they aren’t charity. The endeavor "
"exchange value with people, just not necessarily synchronously or in a way "
"that requires that those values be equal. As David Bollier wrote in Think "
"Like a Commoner, <quote>There is no self-serving calculation of whether the "
"value given and received is strictly equal.</quote>"
msgstr ""
"I stedet for å utarbeide en plan for å få folk til å betale penger for noe "
"som gir dem direkte verdi, handlet mange av inntektsstrømmene mer om å gi "
"verdi, bygge forhold, og så eventuelt finne noen penger som strømmer tilbake "
"fra en forståelse av gjensidighet. Mens noe ser ut som tradisjonelle "
"veldedige finansieringsmodeller, er de ikke det. Innsatsen utveksler verdier "
"mellom mennesker, bare ikke nødvendigvis synkront eller avkrevd "
"likverdighet. Som David Bollier skrev i Think Like a Commoner, <quote>Det er "
"ingen iboende kalkyle til egen vinning i om verdien gitt og mottatt er helt "
"lik</quote>."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2514
#, fuzzy
#| msgid ""
#| "This should be a familiar dynamic—it is the way you deal with your "
#| "friends and family. We give without regard for what and when we will get "
#| "back. David Bollier wrote, “Reciprocal social exchange lies at the heart "
#| "of human identity, community and culture. It is a vital brain function "
#| "that helps the human species survive and evolve.”"
msgid ""
"This should be a familiar dynamic—it is the way you deal with your friends "
"and family. We give without regard for what and when we will get back. David "
"Bollier wrote, <quote>Reciprocal social exchange lies at the heart of human "
"identity, community and culture. It is a vital brain function that helps the "
"human species survive and evolve.</quote>"
msgstr ""
"Dette bør være en kjent dynamikk – det er måten du behandler venner og "
"familie. Offer uten hensyn til gjengjeldelse og tidsperspektiv. David "
"Bollier skrev, <quote>Gjensidig sosial utveksling ligger i hjertet av "
"menneskets identitet, samfunn og kultur. Det er en viktig hjernefunksjon som "
"hjelper menneskeheten i sin overlevelse og utvikling</quote>."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2524
msgid "Bollier, Think Like a Commoner, 150."
msgstr "Bollier, Think Like a Commoner, 150."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2528
msgid "Ibid., 134."
msgstr "Ibid., 134."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2522
msgid ""
"What is rare is to incorporate this sort of relationship into an endeavor "
"that also engages with the market.<placeholder type=\"footnote\" id=\"0\"/> "
"We almost can’t help but think of relationships in the market as being "
"centered on an even-steven exchange of value.<placeholder type=\"footnote\" "
"id=\"1\"/>"
msgstr ""
"Det er sjeldent å innlemme slike forhold i en innsats som også favner "
"markedet.<placeholder type=\"footnote\" id=\"0\"/>  Vi kan nesten ikke unngå "
"å tenke på markedsrelasjoner som sentrert, uten gjensidig utveksling av "
"verdi.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2533
msgid ""
"Memberships and individual donations <emphasis>[RECIPROCITY-BASED]</emphasis>"
msgstr ""
"Medlemskap og individuelle donasjoner <emphasis>[GJENSIDIGHETSBASERT]</"
"emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2536
msgid ""
"While memberships and donations are traditional nonprofit funding models, in "
"the Made with Creative Commons context, they are directly tied to the "
"reciprocal relationship that is cultivated with the beneficiaries of their "
"work. The bigger the pool of those receiving value from the content, the "
"more likely this strategy will work, given that only a small percentage of "
"people are likely to contribute. Since using CC licenses can grease the "
"wheels for content to reach more people, this strategy can be more effective "
"for endeavors that are Made with Creative Commons. The greater the argument "
"that the content is a public good or that the entire endeavor is furthering "
"a social mission, the more likely this strategy is to succeed."
msgstr ""
"Mens medlemskap og donasjoner er tradisjonelle veldedige "
"finansieringsmodeller, i Made with Creative Commons-sammenheng, er de "
"direkte knyttet til det gjensidige forholdet dyrket med de som nyter godt av "
"arbeidet. Jo større mengde som mottar verdi fra innholdet, jo mer sannsynlig "
"er det at denne strategien vil fungere, gitt at bare en liten prosentandel "
"av brukerne sannsynligvis vil bidra. Siden det å bruke CC-lisenser kan smøre "
"hjulene for at innhold skal nå flere mennesker, kan denne strategien være "
"mer effektiv for innsatser utført med laget med Creative Commons. Jo "
"viktigere argumentet er for at innholdet er et kollektivt gode, eller at "
"hele innsatsen skal fremme en sosial oppgave, jo mer sannsynlig er det at "
"denne strategien lykkes."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2552
msgid "The pay-what-you-want model <emphasis>[RECIPROCITY-BASED]</emphasis>"
msgstr "Betal-hva-du-vil-modellen <emphasis>[GJENSIDIGHETSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2555
#, fuzzy
#| msgid ""
#| "In the pay-what-you-want model, the beneficiary of Creative Commons "
#| "content is invited to give—at any amount they can and feel is "
#| "appropriate, based on the public and personal value they feel is "
#| "generated by the open content. Critically, these models are not touted as "
#| "“buying” something free. They are similar to a tip jar. People make "
#| "financial contributions as an act of gratitude. These models capitalize "
#| "on the fact that we are naturally inclined to give money for things we "
#| "value in the marketplace, even in situations where we could find a way to "
#| "get it for free."
msgid ""
"In the pay-what-you-want model, the beneficiary of Creative Commons content "
"is invited to give—at any amount they can and feel is appropriate, based on "
"the public and personal value they feel is generated by the open content. "
"Critically, these models are not touted as <quote>buying</quote> something "
"free.  They are similar to a tip jar. People make financial contributions as "
"an act of gratitude. These models capitalize on the fact that we are "
"naturally inclined to give money for things we value in the marketplace, "
"even in situations where we could find a way to get it for free."
msgstr ""
"I betal-hva-du-vil-modellen blir mottakere av Creative Commons-innhold "
"invitert til å gi et beløp de synes de kan gi og føler er nødvendig, basert "
"på den offentlige og personlige verdi de føler er frembrakt av det åpne "
"innholdet. Kritisk sett er ikke disse modellene myntet på å <quote>kjøpe</"
"quote> noe gratis. De likner en skål til drikkepenger. Folk gir et "
"økonomiske bidrag som en takk. Disse modellene kapitaliserer det faktum at "
"vi er naturlig tilbøyelige til å gi penger for tingene vi setter pris på i "
"markedet, selv i situasjoner der vi ellers kan finne en måte å få det gratis "
"på ."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2568
msgid "Crowdfunding <emphasis>[RECIPROCITY-BASED]</emphasis>"
msgstr "Folkefinansiering <emphasis>[GJENSIDIGHETSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2571
#, fuzzy
#| msgid ""
#| "Crowdfunding models are based on recouping the costs of creating and "
#| "distributing content before the content is created. If the endeavor is "
#| "Made with Creative Commons, anyone who wants the work in question could "
#| "simply wait until it’s created and then access it for free. That means, "
#| "for this model to work, people have to care about more than just "
#| "receiving the work. They have to want you to succeed. Amanda Palmer "
#| "credits the success of her crowdfunding on Kickstarter and Patreon to the "
#| "years she spent building her community and creating a connection with her "
#| "fans. She wrote in The Art of Asking, “Good art is made, good art is "
#| "shared, help is offered, ears are bent, emotions are exchanged, the "
#| "compost of real, deep connection is sprayed all over the fields. Then one "
#| "day, the artist steps up and asks for something. And if the ground has "
#| "been fertilized enough, the audience says, without hesitation: of course.”"
msgid ""
"Crowdfunding models are based on recouping the costs of creating and "
"distributing content before the content is created. If the endeavor is Made "
"with Creative Commons, anyone who wants the work in question could simply "
"wait until it’s created and then access it for free. That means, for this "
"model to work, people have to care about more than just receiving the work. "
"They have to want you to succeed. Amanda Palmer credits the success of her "
"crowdfunding on Kickstarter and Patreon to the years she spent building her "
"community and creating a connection with her fans. She wrote in The Art of "
"Asking, <quote>Good art is made, good art is shared, help is offered, ears "
"are bent, emotions are exchanged, the compost of real, deep connection is "
"sprayed all over the fields. Then one day, the artist steps up and asks for "
"something. And if the ground has been fertilized enough, the audience says, "
"without hesitation: of course.</quote>"
msgstr ""
"Folkefinansiering er modeller basert på å tjene inn igjen kostnadene til å "
"lage og distribuere innhold når innholdet er opprettet. Hvis arbeidet er "
"laget med Creative Commons, kunne de som ønsker det aktuelle arbeidet bare "
"vente til det er opprettet, og deretter få tilgang til det gratis. Det "
"betyr, for å få denne modellen til å virke, at folk må bry seg mer enn å "
"bare motta arbeidet. De må ønske at du lykkes. Amanda Palmer tillegger "
"suksessen med folkefinansiering av Kickstarter og Patreon til årene hun "
"brukte til bygge opp sitt fellesskap, og utvikle koblingen med tilhengerne "
"sine. Hun skrev i The Art og Asking, <quote>God kunst er laget, god kunst "
"deles, hjelp tilbys, ører spisset, følelser utveksles, kompost av ekte og "
"dyp forbindelse er spredt over åkrene.  Så en dag, trapper kunstneren opp og "
"ber om noe. Og hvis bakken er gjødslet nok, sier publikum, uten å nøle: "
"Selvfølgelig</quote>."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2589
msgid ""
"Other types of crowdfunding rely on a sense of responsibility that a "
"particular community may feel. Knowledge Unlatched pools funds from major U."
"S. libraries to subsidize CC-licensed academic work that will be, by "
"definition, available to everyone for free. Libraries with bigger budgets "
"tend to give more out of a sense of commitment to the library community and "
"to the idea of open access generally."
msgstr ""
"Andre typer folkefinansiering bygger på en ansvarsfølelse som et bestemt "
"fellesskap kan ha. Knowledge Unlatched samler opp midler fra store "
"amerikanske biblioteker for å støtte CC-lisensiert akademisk arbeid som vil "
"bli, per definisjon, tilgjengelig gratis for alle. Biblioteker med større "
"budsjetter tenderer til å gi mer av en følelse av forpliktelse til "
"biblioteksamfunnet, og ideen om åpen tilgang generelt."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2600
msgid "Making Human Connections"
msgstr "Å bygge menneskelige forbindelser"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2602
#, fuzzy
#| msgid ""
#| "Regardless of how they made money, in our interviews, we repeatedly heard "
#| "language like “persuading people to buy” and “inviting people to pay.” We "
#| "heard it even in connection with revenue streams that sit squarely within "
#| "the market. Cory Doctorow told us, “I have to convince my readers that "
#| "the right thing to do is to pay me.” The founders of the for-profit "
#| "company Lumen Learning showed us the letter they send to those who opt "
#| "not to pay for the services they provide in connection with their CC-"
#| "licensed educational content. It isn’t a cease-and-desist letter; it’s an "
#| "invitation to pay because it’s the right thing to do. This sort of "
#| "behavior toward what could be considered nonpaying customers is largely "
#| "unheard of in the traditional marketplace. But it seems to be part of the "
#| "fabric of being Made with Creative Commons."
msgid ""
"Regardless of how they made money, in our interviews, we repeatedly heard "
"language like <quote>persuading people to buy</quote> and <quote>inviting "
"people to pay.</quote> We heard it even in connection with revenue streams "
"that sit squarely within the market. Cory Doctorow told us, <quote>I have to "
"convince my readers that the right thing to do is to pay me.</quote> The "
"founders of the for-profit company Lumen Learning showed us the letter they "
"send to those who opt not to pay for the services they provide in connection "
"with their CC-licensed educational content. It isn’t a cease-and-desist "
"letter; it’s an invitation to pay because it’s the right thing to do. This "
"sort of behavior toward what could be considered nonpaying customers is "
"largely unheard of in the traditional marketplace. But it seems to be part "
"of the fabric of being Made with Creative Commons."
msgstr ""
"Uansett hvordan de tjente penger, i våre intervjuer hørte vi gjentatte "
"ganger ord som <quote>å overtale folk til å kjøpe</quote> og <quote>invitere "
"folk til å betale</quote>. Vi hørte det selv i forbindelse med "
"inntektsstrømmer som er helt og holdent i markedet. Cory Doctorow fortalte "
"oss, <quote>Jeg må overbevise mine lesere om at det riktige å gjøre er å "
"betale meg</quote>. Grunnleggerne av for-profitt-selskapet Lumen Learning, "
"viste oss brevet de sender til dem som velger å ikke betale for tjenestene "
"de leverer med sitt CC-lisensierte utdanningsinnhold. Det er ikke et stanse- "
"og avslå-brev; det er en invitasjon til å betale fordi det er den riktige "
"tingen å gjøre. Denne typen atferd overfor hva som kan anses som ikke "
"betalende kunder, er hovedsakelig uhørt på den tradisjonelle markedsplassen. "
"Men det synes å være en del av oppbyggingen av å være Made with Creative "
"Commons."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2619
#, fuzzy
#| msgid ""
#| "Nearly every endeavor we profiled relied, at least in part, on people "
#| "being invested in what they do. The closer the Creative Commons content "
#| "is to being “the product,” the more pronounced this dynamic has to be. "
#| "Rather than simply selling a product or service, they are making "
#| "ideological, personal, and creative connections with the people who value "
#| "what they do."
msgid ""
"Nearly every endeavor we profiled relied, at least in part, on people being "
"invested in what they do. The closer the Creative Commons content is to "
"being <quote>the product,</quote> the more pronounced this dynamic has to "
"be. Rather than simply selling a product or service, they are making "
"ideological, personal, and creative connections with the people who value "
"what they do."
msgstr ""
"Nesten alle forsøk vi undersøkte støtte seg, minst delvis, på at folk "
"investerer i hva de gjør. Jo nærmere Creative Commons-innhold er i å være "
"<quote>produktet</quote>, jo mer uttalt må denne dynamikken være.  I stedet "
"for bare å selge et produkt eller en service, knytter de ideologiske, "
"personlige og kreative forbindelser med folk som verdsetter det de gjør."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2627
msgid ""
"It took me a very long time to see how this avoidance of thinking about what "
"they do in pure market terms was deeply tied to being Made with Creative "
"Commons."
msgstr ""
"Det tok meg lang tid å se hvordan dette å unngå å tenke på hva de gjør i "
"rene markedstermer, var sterkt knyttet til Made with Creative Commons."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2632
msgid ""
"I came to the research with preconceived notions about what Creative Commons "
"is and what it means to be Made with Creative Commons. It turned out I was "
"wrong on so many counts."
msgstr ""
"Jeg kom til prosjektet med forhåndsoppfatningen om hva Creative Commons er, "
"og hva det betyr å være laget med Creative Commons. Det viste seg at jeg tok "
"feil på så mange punkter."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2637
msgid ""
"Obviously, being Made with Creative Commons means using Creative Commons "
"licenses. That much I knew. But in our interviews, people spoke of so much "
"more than copyright permissions when they explained how sharing fit into "
"what they do. I was thinking about sharing too narrowly, and as a result, I "
"was missing vast swaths of the meaning packed within Creative Commons. "
"Rather than parsing the specific and narrow role of the copyright license in "
"the equation, it is important not to disaggregate the rest of what comes "
"with sharing. You have to widen the lens."
msgstr ""
"Selvfølgelig er Made with Creative Commons å bruke Creative Commons-"
"lisenser. Så mye visste jeg. Men i våre intervjuer snakket folk om så mye "
"mer enn opphavsrettigheter når de forklarte hvordan deling passer inn i hva "
"de gjør. Jeg tenkte for smalt på deling, og resultatet var jeg hadde store "
"sprekker i meningen som er pakket inn i Creative Commons. Snarere enn å "
"analysere den spesifikke og smale rollen til opphavsretten i sammenhengen, "
"er det viktig å ikke skille ut resten av det som følger med deling. Du må "
"utvide synsfeltet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2648
msgid ""
"Being Made with Creative Commons is not just about the simple act of "
"licensing a copyrighted work under a set of standardized terms, but also "
"about community, social good, contributing ideas, expressing a value system, "
"working together. These components of sharing are hard to cultivate if you "
"think about what you do in purely market terms. Decent social behavior isn’t "
"as intuitive when we are doing something that involves monetary exchange. It "
"takes a conscious effort to foster the context for real sharing, based not "
"strictly on impersonal market exchange, but on connections with the people "
"with whom you share—connections with you, with your work, with your values, "
"with each other."
msgstr ""
"Made with Creative Commons dreier seg  ikke bare om den enkle handlingen å "
"lisensiere et åndsprodukt med et sett standardiserte vilkår, men også om "
"fellesskap, sosial nytte, å bidra med ideer, uttrykke et verdisystem, "
"samarbeide. Det er vanskelig å kultivere delingskomponentene hvis du tenker "
"på hva du gjør med ren markedstenkning. Anstendig sosial atferd er ikke like "
"intuitivt når vi gjør noe med en monetær utveksling. Det kreves en bevisst "
"innsats for å fremme en kontekst med ekte deling, ikke bare basert på "
"upersonlig utveksling i markedet, men på forbindelsene med folk som du "
"deler med  – forbindelsene til deg, med arbeidet ditt, med dine verdier, med "
"hverandre."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2662
msgid ""
"The rest of this section will explore some of the common strategies that "
"creators, companies, and organizations use to remind us that there are "
"humans behind every creative endeavor.  To remind us we have obligations to "
"each other. To remind us what sharing really looks like."
msgstr ""
"I resten av denne seksjonen vil vi gjennomgå noen av de vanlige strategiene "
"som innholdsleverandører, selskaper og organisasjoner bruker for å minne oss "
"på at det finnes mennesker bak ethvert kreativt arbeid. For å minne oss om "
"at vi  har forpliktelser overfor hverandre. For å minne oss om hvordan "
"deling virkelig ser ut."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2669
msgid "Be human"
msgstr "Vær menneskelig"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2673
msgid ""
"Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions, rev. ed. (New York: Harper Perennial, 2010), 109."
msgstr ""
"Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions, rev. ed. (New York: Harper Perennial, 2010), 109."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2671
msgid ""
"Humans are social animals, which means we are naturally inclined to treat "
"each other well.<placeholder type=\"footnote\" id=\"0\"/> But the further "
"removed we are from the person with whom we are interacting, the less caring "
"our behavior will be. While the Internet has democratized cultural "
"production, increased access to knowledge, and connected us in extraordinary "
"ways, it can also make it easy forget we are dealing with another human."
msgstr ""
"Mennesker er sosiale dyr, noe som betyr at vi er naturlig tilbøyelig til å "
"behandle hverandre godt.<placeholder type=\"footnote\" id=\"0\"/> Men jo "
"fjernere vi er fra personen som vi samhandler med, jo mindre omsorgsfull vil "
"vår atferd være. Mens Internett har demokratisert kulturell produksjon, har "
"økt tilgangen til kunnskap, og koblet oss sammen på ekstraordinære måter, "
"kan det også gjøre det lett å glemme at vi arbeider med et annet menneske."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2697
msgid ""
"Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered (New York: Workman, 2014), 93."
msgstr ""
"Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered (New York: Workman, 2014), 93."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2684
#, fuzzy
#| msgid ""
#| "To counteract the anonymous and impersonal tendencies of how we operate "
#| "online, individual creators and corporations who use Creative Commons "
#| "licenses work to demonstrate their humanity. For some, this means pouring "
#| "their lives out on the page. For others, it means showing their creative "
#| "process, giving a glimpse into how they do what they do. As writer Austin "
#| "Kleon wrote, “Our work doesn’t speak for itself. Human beings want to "
#| "know where things came from, how they were made, and who made them. The "
#| "stories you tell about the work you do have a huge effect on how people "
#| "feel and what they understand about your work, and how people feel and "
#| "what they understand about your work affects how they value "
#| "it.”<placeholder type=\"footnote\" id=\"0\"/>"
msgid ""
"To counteract the anonymous and impersonal tendencies of how we operate "
"online, individual creators and corporations who use Creative Commons "
"licenses work to demonstrate their humanity. For some, this means pouring "
"their lives out on the page. For others, it means showing their creative "
"process, giving a glimpse into how they do what they do. As writer Austin "
"Kleon wrote, <quote>Our work doesn’t speak for itself.  Human beings want to "
"know where things came from, how they were made, and who made them. The "
"stories you tell about the work you do have a huge effect on how people feel "
"and what they understand about your work, and how people feel and what they "
"understand about your work affects how they value it.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"For å motvirke anonyme og upersonlige tendenser i hvordan vi opererer på "
"nettet, arbeider individuelle leverandører og selskaper, som bruker Creative "
"Commons-lisenser, med å demonstrere sin menneskelighet. For noen betyr dette "
"å legge ut sine liv på nettsiden. For andre betyr dette å vise sin kreative "
"prosess, gi et innblikk i hvordan de gjør det de gjør. Som forfatter skrev "
"Austin Kleon, <quote>Vårt arbeid snakker ikke for seg selv. Mennesker ønsker "
"å vite hvor ting kom fra, hvordan de ble laget, og hvem som laget dem. "
"Historiene du fortelle om arbeidet du gjør, har stor innvirkning på hvordan "
"folk føler, hva de forstår om arbeidet ditt, hvordan folk føler, og hva de "
"forstår om hvordan arbeidet ditt påvirker hvordan de verdsetter det</quote>."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2703
#, fuzzy
#| msgid ""
#| "A critical component to doing this effectively is not worrying about "
#| "being a “brand.” That means not being afraid to be vulnerable. Amanda "
#| "Palmer says, “When you’re afraid of someone’s judgment, you can’t connect "
#| "with them. You’re too preoccupied with the task of impressing them.” Not "
#| "everyone is suited to live life as an open book like Palmer, and that’s "
#| "OK. There are a lot of ways to be human. The trick is just avoiding "
#| "pretense and the temptation to artificially craft an image. People don’t "
#| "just want the glossy version of you. They can’t relate to it, at least "
#| "not in a meaningful way."
msgid ""
"A critical component to doing this effectively is not worrying about being a "
"<quote>brand.</quote> That means not being afraid to be vulnerable. Amanda "
"Palmer says, <quote>When you’re afraid of someone’s judgment, you can’t "
"connect with them. You’re too preoccupied with the task of impressing them.</"
"quote> Not everyone is suited to live life as an open book like Palmer, and "
"that’s OK. There are a lot of ways to be human. The trick is just avoiding "
"pretense and the temptation to artificially craft an image. People don’t "
"just want the glossy version of you. They can’t relate to it, at least not "
"in a meaningful way."
msgstr ""
"En kritisk komponent for å gjøre dette effektivt er å ikke bekymre seg om å "
"være en <quote>merkevare</quote>. Det betyr å ikke å være redd for å være "
"sårbar. Amanda Palmer sier, <quote>når du er redd for noens dom, må du ikke "
"koble deg sammen med dem. Du blir for opptatt med oppgaven å imponere dem</"
"quote>. Det passer ikke for alle å leve livet som en åpen bok, som Palmer, "
"og det er OK. Det er mange måter å være menneske på. Trikset er bare unngå å "
"late som, og fristelsen til å lage et kunstig bilde.  Folk ønsker ikke bare "
"den skinnende versjonen av deg. De kan ikke forholder seg til det, i hvert "
"fall ikke på en meningsfull måte."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2724
msgid "Kramer, Shareology, 76."
msgstr "Kramer, Shareology, 76."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2716
#, fuzzy
#| msgid ""
#| "This advice is probably even more important for businesses and "
#| "organizations because we instinctively conceive of them as nonhuman "
#| "(though in the United States, corporations are people!). When "
#| "corporations and organizations make the people behind them more apparent, "
#| "it reminds people that they are dealing with something other than an "
#| "anonymous corporate entity. In business-speak, this is about “humanizing "
#| "your interactions” with the public.<placeholder type=\"footnote\" id="
#| "\"0\"/> But it can’t be a gimmick. You can’t fake being human."
msgid ""
"This advice is probably even more important for businesses and organizations "
"because we instinctively conceive of them as nonhuman (though in the United "
"States, corporations are people!). When corporations and organizations make "
"the people behind them more apparent, it reminds people that they are "
"dealing with something other than an anonymous corporate entity. In business-"
"speak, this is about <quote>humanizing your interactions</quote> with the "
"public.<placeholder type=\"footnote\" id=\"0\"/> But it can’t be a gimmick. "
"You can’t fake being human."
msgstr ""
"Dette rådet er sannsynligvis enda viktigere for bedrifter og organisasjoner "
"fordi vi instinktivt tenker på dem som ikke menneskelige (men i USA, er "
"selskaper mennesker!). Når bedrifter og organisasjoner gjør menneskene bak "
"dem mer tydelige, minner det folk om at de har å gjøre med noe annet enn en "
"anonym enhet i en bedrift. I forretningsspråket handler dette om å "
"<quote>menneskeliggjøre sine samhandlinger</quote> med offentligheten."
"<placeholder type=\"footnote\" id=\"0\"/> Men det kan ikke være en gimmick. "
"Du kan ikke forfalske det å være menneske."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2730
msgid "Be open and accountable"
msgstr "Vær åpen og ansvarlig"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2739
msgid "Palmer, Art of Asking, 252."
msgstr "Palmer, Art of Asking, 252."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2744
msgid "Whitehurst, Open Organization, 145."
msgstr "Whitehurst, Open Organization, 145."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2732
#, fuzzy
#| msgid ""
#| "Transparency helps people understand who you are and why you do what you "
#| "do, but it also inspires trust. Max Temkin of Cards Against Humanity told "
#| "us, “One of the most surprising things you can do in capitalism is just "
#| "be honest with people.” That means sharing the good and the bad. As "
#| "Amanda Palmer wrote, “You can fix almost anything by authentically "
#| "communicating.”<placeholder type=\"footnote\" id=\"0\"/> It isn’t about "
#| "trying to satisfy everyone or trying to sugarcoat mistakes or bad news, "
#| "but instead about explaining your rationale and then being prepared to "
#| "defend it when people are critical.<placeholder type=\"footnote\" id="
#| "\"1\"/>"
msgid ""
"Transparency helps people understand who you are and why you do what you do, "
"but it also inspires trust. Max Temkin of Cards Against Humanity told us, "
"<quote>One of the most surprising things you can do in capitalism is just be "
"honest with people.</quote> That means sharing the good and the bad.  As "
"Amanda Palmer wrote, <quote>You can fix almost anything by authentically "
"communicating.</quote><placeholder type=\"footnote\" id=\"0\"/> It isn’t "
"about trying to satisfy everyone or trying to sugarcoat mistakes or bad "
"news, but instead about explaining your rationale and then being prepared to "
"defend it when people are critical.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Åpenhet hjelper folk å forstå hvem du er og hvorfor du gjør det du gjør, men "
"det inspirerer også til tillit. Som Max Temkin i Cards Against Humanity "
"fortalte oss, <quote>En av de mest overraskende tingene du kan gjøre i "
"kapitalismen, er bare å være ærlig med folk</quote>. Det betyr at du deler "
"det gode og dårlige. Som Amanda Palmer skrev, <quote>Du kan fikse nesten alt "
"med ekte og pålitelig kommunikasjon</quote>.<placeholder type=\"footnote\" "
"id=\"0\"/> Det handler ikke om å prøve å tilfredsstille alle, eller prøver å "
"glatte over feil eller dårlige nyheter, men i stedet forklare om din "
"begrunnelse, og så være forberedt på å forsvare den når folk er kritiske."
"<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2753
msgid "Surowiecki, Wisdom of Crowds, 203."
msgstr "Surowiecki, Wisdom of Crowds, 203."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2760
msgid "Whitehurst, Open Organization, 80."
msgstr "Whitehurst, Open Organization, 80."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2748
msgid ""
"Being accountable does not mean operating on consensus.  According to James "
"Surowiecki, consensus-driven groups tend to resort to lowest-common-"
"denominator solutions and avoid the sort of candid exchange of ideas that "
"cultivates healthy collaboration.<placeholder type=\"footnote\" id=\"0\"/> "
"Instead, it can be as simple as asking for input and then giving context and "
"explanation about decisions you make, even if soliciting feedback and "
"inviting discourse is time-consuming. If you don’t go through the effort to "
"actually respond to the input you receive, it can be worse than not inviting "
"input in the first place.<placeholder type=\"footnote\" id=\"1\"/> But when "
"you get it right, it can guarantee the type of diversity of thought that "
"helps endeavors excel. And it is another way to get people involved and "
"invested in what you do."
msgstr ""
"Å være ansvarlig betyr ikke å operere med konsensus. Ifølge James "
"Surowiecki, tenderer konsensusdrevne grupper til å ty til løsninger basert "
"på laveste fellesnevner, og unngår oppriktig utveksling av ideer i "
"fremmingen av sunt samarbeid.<placeholder type=\"footnote\" id=\"0\"/> "
"Isteden kan det være så enkelt som å be om innspill, og deretter tilby "
"bindeleddsinformasjon og forklaringer på beslutninger du tar, selv om det å "
"be om tilbakemeldinger og innby til meningsutveksling er tidkrevende. Hvis "
"du ikke tar deg bryderiet med å svare på innspillene du får, kan det være "
"verre enn å ikke invitere dem i første omgang.<placeholder type=\"footnote\" "
"id=\"0\"/> Når du dog får det godt til, kan det garantere den typen mangfold "
"i tenkingen som hjelper til å utmerke innsatsen. Samtidig er det en annen "
"måte å få folk involvert og investert i det du gjør."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2768
msgid "Design for the good actors"
msgstr "Design for de gode aktører"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2772
msgid "Bollier, Think Like a Commoner, 25."
msgstr "Bollier, Think Like a Commoner, 25."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2777
msgid "Ibid., 31."
msgstr "Ibid., 31."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2770
#, fuzzy
#| msgid ""
#| "Traditional economics assumes people make decisions based solely on their "
#| "own economic self-interest.<placeholder type=\"footnote\" id=\"0\"/> Any "
#| "relatively introspective human knows this is a fiction—we are much more "
#| "complicated beings with a whole range of needs, emotions, and "
#| "motivations. In fact, we are hardwired to work together and ensure "
#| "fairness.<placeholder type=\"footnote\" id=\"1\"/> Being Made with "
#| "Creative Commons requires an assumption that people will largely act on "
#| "those social motivations, motivations that would be considered "
#| "“irrational” in an economic sense. As Knowledge Unlatched’s Pinter told "
#| "us, “It is best to ignore people who try to scare you about free riding. "
#| "That fear is based on a very shallow view of what motivates human "
#| "behavior.” There will always be people who will act in purely selfish "
#| "ways, but endeavors that are Made with Creative Commons design for the "
#| "good actors."
msgid ""
"Traditional economics assumes people make decisions based solely on their "
"own economic self-interest.<placeholder type=\"footnote\" id=\"0\"/> Any "
"relatively introspective human knows this is a fiction—we are much more "
"complicated beings with a whole range of needs, emotions, and motivations. "
"In fact, we are hardwired to work together and ensure fairness.<placeholder "
"type=\"footnote\" id=\"1\"/> Being Made with Creative Commons requires an "
"assumption that people will largely act on those social motivations, "
"motivations that would be considered <quote>irrational</quote> in an "
"economic sense. As Knowledge Unlatched’s Pinter told us, <quote>It is best "
"to ignore people who try to scare you about free riding. That fear is based "
"on a very shallow view of what motivates human behavior.</quote> There will "
"always be people who will act in purely selfish ways, but endeavors that are "
"Made with Creative Commons design for the good actors."
msgstr ""
"Tradisjonell økonomi forutsetter at folk tar avgjørelser basert utelukkende "
"ut fra sin økonomiske egeninteresse.<placeholder type=\"footnote\" id=\"0\"/"
"> Ethvert relativt selvanalyserende menneske vet at dette er en fiksjon – vi "
"er mye mer kompliserte vesener med en hel rekke behov, følelser og "
"motivasjoner. Faktisk er vi bundet til å samarbeide og sikre rettferdighet."
"<placeholder type=\"footnote\" id=\"1\"/> Made with Creative Commons "
"forutsetter en oppfatning om at folk i stor grad vil handle ut fra disse "
"sosiale motivasjonene, motivasjoner som ville bli betraktet som "
"<quote>irrasjonelle</quote> i økonomisk forstand. Som Pinter i Knowlegde "
"Unlatched fortalte oss, er <quote>det best å ignorere mennesker som prøver å "
"skremme deg med gratisturer. Den frykten er basert på et svært grunt syn på "
"hva som motiverer menneskelig atferd</quote>. Det vil alltid være folk som "
"vil handle på rent egoistiske måter, men oppgaver som er laget med Creative "
"Commons-design er for de gode aktørene."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2796
msgid "Shirky, Cognitive Surplus, 112."
msgstr "Shirky, Cognitive Surplus, 112."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2790
#, fuzzy
#| msgid ""
#| "The assumption that people will largely do the right thing can be a self-"
#| "fulfilling prophecy. Shirky wrote in Cognitive Surplus, “Systems that "
#| "assume people will act in ways that create public goods, and that give "
#| "them opportunities and rewards for doing so, often let them work together "
#| "better than neoclassical economics would predict.”<placeholder type="
#| "\"footnote\" id=\"0\"/> When we acknowledge that people are often "
#| "motivated by something other than financial self-interest, we design our "
#| "endeavors in ways that encourage and accentuate our social instincts."
msgid ""
"The assumption that people will largely do the right thing can be a self-"
"fulfilling prophecy. Shirky wrote in Cognitive Surplus, <quote>Systems that "
"assume people will act in ways that create public goods, and that give them "
"opportunities and rewards for doing so, often let them work together better "
"than neoclassical economics would predict.</quote><placeholder type="
"\"footnote\" id=\"0\"/> When we acknowledge that people are often motivated "
"by something other than financial self-interest, we design our endeavors in "
"ways that encourage and accentuate our social instincts."
msgstr ""
"Antagelsen om at folk i stor grad vil gjøre det rette, kan være en "
"selvoppfyllende profeti. Shirky skrev i Cognitive Surplus: <quote>Systemer "
"som antar at folk vil opptre på måter som skaper offentlige goder, og som "
"gir dem muligheter og belønninger for å gjøre det, lar dem ofte arbeide "
"sammen bedre enn neoklassisk økonomi ville forutse</quote>.<placeholder type="
"\"footnote\" id=\"0\"/> Når vi erkjenner at folk ofte er motivert av noe "
"annet enn finansiell egeninteresse, designer vi våre bestrebelser på måter "
"som stimulerer og fremhever våre sosiale instinkter."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2814
msgid "Surowiecki, Wisdom of Crowds, 124."
msgstr "Surowiecki, Wisdom of Crowds, 124."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2803
#, fuzzy
#| msgid ""
#| "Rather than trying to exert control over people’s behavior, this mode of "
#| "operating requires a certain level of trust. We might not realize it, but "
#| "our daily lives are already built on trust. As Surowiecki wrote in The "
#| "Wisdom of Crowds, “It’s impossible for a society to rely on law alone to "
#| "make sure citizens act honestly and responsibly. And it’s impossible for "
#| "any organization to rely on contracts alone to make sure that its "
#| "managers and workers live up to their obligation.” Instead, we largely "
#| "trust that people—mostly strangers—will do what they are supposed to do."
#| "<placeholder type=\"footnote\" id=\"0\"/> And most often, they do."
msgid ""
"Rather than trying to exert control over people’s behavior, this mode of "
"operating requires a certain level of trust. We might not realize it, but "
"our daily lives are already built on trust. As Surowiecki wrote in The "
"Wisdom of Crowds, <quote>It’s impossible for a society to rely on law alone "
"to make sure citizens act honestly and responsibly. And it’s impossible for "
"any organization to rely on contracts alone to make sure that its managers "
"and workers live up to their obligation.</quote> Instead, we largely trust "
"that people—mostly strangers—will do what they are supposed to do."
"<placeholder type=\"footnote\" id=\"0\"/> And most often, they do."
msgstr ""
"Snarere enn å prøve å utøve kontroll over menneskers atferd, krever denne "
"arbeidsmåten en viss grad av tillit. Vi innser det kanskje, men våre daglige "
"liv er allerede bygget på tillit. Som Surowiecki skrev i The visdom of "
"Crowds; <quote>Det er umulig for et samfunn å stole på loven alene for å "
"sikre at borgere opptrer ærlig og ansvarlig. Det er også umulig for noen "
"organisasjon å stole på kontrakter alene for å sørge for at dens ledere og "
"arbeidere lever opp til sine forpliktelser</quote>. I stedet stoler vi i "
"stor grad på at folk – for det meste fremmede – vil gjøre hva som forventes "
"av dem.<placeholder type=\"footnote\" id=\"0\"/>  Som oftest gjør de det."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2819
msgid "Treat humans like, well, humans"
msgstr "Å behandle mennesker som, vel, mennesker"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2824
msgid "Kleon, Show Your Work, 127."
msgstr "Kleon, Show Your Work, 127."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2832
msgid "Palmer, Art of Asking, 121."
msgstr "Palmer, Art of Asking, 121."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2821
msgid ""
"For creators, treating people as humans means not treating them like fans. "
"As Kleon says, <quote>If you want fans, you have to be a fan first.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Even if you happen to be one "
"of the few to reach celebrity levels of fame, you are better off remembering "
"that the people who follow your work are human, too. Cory Doctorow makes a "
"point to answer every single email someone sends him.  Amanda Palmer spends "
"vast quantities of time going online to communicate with her public, making "
"a point to listen just as much as she talks.<placeholder type=\"footnote\" "
"id=\"1\"/>"
msgstr ""
"For innholdsleverandører betyr å behandle folk som mennesker ikke å behandle "
"dem som fans. Som Kleon sier, <quote>Hvis du vil ha fans, må du først være "
"en fan</quote>.<placeholder type=\"footnote\" id=\"0\"/> Selv om du "
"tilfeldigvis blir en av de få som oppnår kjendisberømmelse, er det bedre om "
"du husker at folk som følger arbeidet ditt, også er menneskelige. Cory "
"Doctorow gjør et poeng av å svare på hver enkelt e-post noen sender ham. "
"Amanda Palmer bruker store deler av tiden på nettet til å kommunisere med "
"sitt publikum, og gjør et poeng av å lytte like mye som hun snakker."
"<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2836
msgid ""
"The same idea goes for businesses and organizations. Rather than automating "
"its customer service, the music platform Tribe of Noise makes a point to "
"ensure its employees have personal, one-on-one interaction with users."
msgstr ""
"Den samme ideen gjelder for bedrifter og organisasjoner. I stedet for å "
"automatisere sin kundeservice, gjør musikkplattformen Tribe of Noise et "
"poeng av å sikre at deres ansatte har en personlig, en-til-en-interaksjon "
"med brukere."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2847
msgid "Ariely, Predictably Irrational, 87."
msgstr "Ariely, Predictably Irrational, 87."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2857
msgid "Ibid., 105."
msgstr "Ibid., 105."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2842
msgid ""
"When we treat people like humans, they typically return the gift in kind. "
"It’s called karma. But social relationships are fragile. It is all too easy "
"to destroy them if you make the mistake of treating people as anonymous "
"customers or free labor.<placeholder type=\"footnote\" id=\"0\"/> Platforms "
"that rely on content from contributors are especially at risk of creating an "
"exploitative dynamic. It is important to find ways to acknowledge and pay "
"back the value that contributors generate. That does not mean you can solve "
"this problem by simply paying contributors for their time or contributions. "
"As soon as we introduce money into a relationship—at least when it takes a "
"form of paying monetary value in exchange for other value—it can "
"dramatically change the dynamic.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Når vi behandler folk som mennesker, vil de vanligvis behandle oss på samme "
"måte. Det kalles karma. Men sosiale relasjoner er skjøre. Det er altfor lett "
"å ødelegge dem hvis du gjør den feilen å behandle folk som anonyme kunder "
"eller gratisarbeidere.<placeholder type=\"footnote\" id=\"0\"/>  Plattformer "
"som bruker innhold fra bidragsytere er spesielt i fare for å skape en "
"dynamikk som utnytter.  Det er viktig å finne måter å anerkjenne og betale "
"tilbake verdien bidragsytere genererer. Det betyr ikke at du kan løse dette "
"problemet bare ved å, i enkelhet, betale bidragsytere for deres tid eller "
"bidrag. Så snart vi introduserer penger inn i et forhold – i det minste når "
"det tar form av å betale en pengeverdi i bytte for en annen verdi - kan det "
"dramatisk endre dynamikken.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2862
msgid "State your principles and stick to them"
msgstr "Legg frem dine prinsipper og hold deg til dem"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2864
msgid ""
"Being Made with Creative Commons makes a statement about who you are and "
"what you do. The symbolism is powerful. Using Creative Commons licenses "
"demonstrates adherence to a particular belief system, which generates "
"goodwill and connects like-minded people to your work. Sometimes people will "
"be drawn to endeavors that are Made with Creative Commons as a way of "
"demonstrating their own commitment to the Creative Commons value system, "
"akin to a political statement. Other times people will identify and feel "
"connected with an endeavor’s separate social mission. Often both."
msgstr ""
"Når du bruker Made with Creative Commons, fastslår du hvem du er og hva du "
"gjør. Symbolikken er kraftig. Med Creative Commons-lisenser demonstrerer du "
"tilslutning til en bestemt trossystem, som genererer goodwill og knytter "
"likesinnede til arbeidet ditt. Noen ganger trekkes folk til innhold som er "
"Made with Creative Commons som en måte å demonstrere sin egen forpliktelse "
"overfor verdisystemet til Creative Commons, som en politisk erklæring. Andre "
"ganger vil folk vil identifisere seg med, og føle seg knyttet til innholdets "
"separate sosiale oppgave. Ofte begge."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2876
msgid ""
"The expression of your values doesn’t have to be implicit. In fact, many of "
"the people we interviewed talked about how important it is to state your "
"guiding principles up front.  Lumen Learning attributes a lot of their "
"success to having been outspoken about the fundamental values that guide "
"what they do. As a for-profit company, they think their expressed commitment "
"to low-income students and open licensing has been critical to their "
"credibility in the OER (open educational resources) community in which they "
"operate."
msgstr ""
"Uttrykket for dine verdier trenger ikke å være implisitt. Faktisk snakket "
"mange av menneskene vi intervjuet om hvor viktig det er å angi dine førende "
"prinsipper på forhånd. Lumen Learning tillegger mye av sin suksess på at de "
"har vært frittalende om de grunnleggende verdiene som styrer hva de gjør. "
"Som et for-fortjeneste-selskap, mener de at deres uttrykte forpliktelse "
"overfor lavinntekt-studenter og åpen lisensiering har vært avgjørende for "
"deres troverdighet i OER-samfunnet (åpne pedagogiske ressurser) der de "
"arbeider."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2891
msgid "Ibid., 36."
msgstr "Ibid., 36."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2887
msgid ""
"When your end goal is not about making a profit, people trust that you "
"aren’t just trying to extract value for your own gain. People notice when "
"you have a sense of purpose that transcends your own self-interest."
"<placeholder type=\"footnote\" id=\"0\"/> It attracts committed employees, "
"motivates contributors, and builds trust."
msgstr ""
"Når målet ditt ikke handler om å gjøre fortjeneste , stoler folk på at du "
"ikke bare prøver å bruke verdien til din egen vinning. Folk merker når du "
"har en hensikt som overskrider din egeninteresse.<placeholder type=\"footnote"
"\" id=\"0\"/> Det tiltrekker engasjerte ansatte, motiverte bidragsytere, og "
"bygger tillit."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2897
msgid "Build a community"
msgstr "Å bygge et fellesskap"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2905
msgid ""
"Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media, "
"2012), 36."
msgstr ""
"Jono Bacon, The Art of Community, 2. utgave (Sebastopol, CA: O’Reilly Media, "
"2012), 36."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2899
msgid ""
"Endeavors that are Made with Creative Commons thrive when community is built "
"around what they do. This may mean a community collaborating together to "
"create something new, or it may simply be a collection of like-minded people "
"who get to know each other and rally around common interests or beliefs."
"<placeholder type=\"footnote\" id=\"0\"/> To a certain extent, simply being "
"Made with Creative Commons automatically brings with it some element of "
"community, by helping connect you to like-minded others who recognize and "
"are drawn to the values symbolized by using CC."
msgstr ""
"Innhold laget med Made with Creative Commons blomstrer når allmenneier er "
"bygget rundt det de gjør. Dette kan bety at et fellesskap samarbeider om å "
"skape noe nytt, eller det kan være en samling av likesinnede som blir kjent "
"med hverandre, og samles rundt felles interesser eller oppfatninger."
"<placeholder type=\"footnote\" id=\"0\"/> Til en viss grad bringer Made with "
"Creative Commons automatisk med seg elementer av fellesskap, med hjelp til å "
"koble deg til likesinnede som gjenkjenner og trekkes til verdiene som "
"symboliseres ved å bruke CC."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2921
msgid "Palmer, Art of Asking, 98."
msgstr "Palmer, Art of Asking, 98."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2928
msgid "Whitehurst, Open Organization, 34."
msgstr "Whitehurst, Open Organization, 34."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2913
#, fuzzy
#| msgid ""
#| "To be sustainable, though, you have to work to nurture community. People "
#| "have to care—about you and each other. One critical piece to this is "
#| "fostering a sense of belonging. As Jono Bacon writes in The Art of "
#| "Community, “If there is no belonging, there is no community.” For Amanda "
#| "Palmer and her band, that meant creating an accepting and inclusive "
#| "environment where people felt a part of their “weird little "
#| "family.”<placeholder type=\"footnote\" id=\"0\"/> For organizations like "
#| "Red Hat, that means connecting around common beliefs or goals. As the CEO "
#| "Jim Whitehurst wrote in The Open Organization, “Tapping into passion is "
#| "especially important in building the kinds of participative communities "
#| "that drive open organizations.”<placeholder type=\"footnote\" id=\"1\"/>"
msgid ""
"To be sustainable, though, you have to work to nurture community. People "
"have to care—about you and each other. One critical piece to this is "
"fostering a sense of belonging. As Jono Bacon writes in The Art of "
"Community, <quote>If there is no belonging, there is no community.</quote> "
"For Amanda Palmer and her band, that meant creating an accepting and "
"inclusive environment where people felt a part of their <quote>weird little "
"family.</quote><placeholder type=\"footnote\" id=\"0\"/> For organizations "
"like Red Hat, that means connecting around common beliefs or goals. As the "
"CEO Jim Whitehurst wrote in The Open Organization, <quote>Tapping into "
"passion is especially important in building the kinds of participative "
"communities that drive open organizations.</quote><placeholder type="
"\"footnote\" id=\"1\"/>"
msgstr ""
"For å være bærekraftig må du jobbe hardt for å livnære allmenneiet. Folk må "
"bry seg – om deg og hverandre. Én kritisk brikke i dette er å få frem "
"følelsen av tilhørighet. Som Jono Bacon skriver i The Art of Community: "
"<quote>Hvis det ikke er  tilhørighet, er det ikke noe fellesskap</quote>. "
"For Amanda Palmer og hennes band betydde dette å lage og godta et "
"inkluderende miljø der folk følte seg som del av deres <quote>lille rare "
"familie.</quote><placeholder type=\"footnote\" id=\"0\"/>  For "
"organisasjoner som Red Hat, betyr det å samle seg rundt felles oppfatninger "
"eller mål. Som administrerende direktør Jim Whitehurst skrev i The Open "
"Organization: <quote>Å etablere følelsesmessig tilknytning er spesielt "
"viktig for bygging av de typer deltakende fellesskap som driver åpne "
"organisasjoner</quote>.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2940
msgid "Surowiecki, Wisdom of Crowds, 200."
msgstr "Surowiecki, Wisdom of Crowds, 200."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2944
msgid "Bollier, Think Like a Commoner, 29."
msgstr "Bollier, Think Like a Commoner, 29."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2932
#, fuzzy
#| msgid ""
#| "Communities that collaborate together take deliberate planning. "
#| "Surowiecki wrote, “It takes a lot of work to put the group together. It’s "
#| "difficult to ensure that people are working in the group’s interest and "
#| "not in their own. And when there’s a lack of trust between the members of "
#| "the group (which isn’t surprising given that they don’t really know each "
#| "other), considerable energy is wasted trying to determine each other’s "
#| "bona fides.”<placeholder type=\"footnote\" id=\"0\"/> Building true "
#| "community requires giving people within the community the power to create "
#| "or influence the rules that govern the community.<placeholder type="
#| "\"footnote\" id=\"1\"/> If the rules are created and imposed in a top-"
#| "down manner, people feel like they don’t have a voice, which in turn "
#| "leads to disengagement."
msgid ""
"Communities that collaborate together take deliberate planning. Surowiecki "
"wrote, <quote>It takes a lot of work to put the group together. It’s "
"difficult to ensure that people are working in the group’s interest and not "
"in their own. And when there’s a lack of trust between the members of the "
"group (which isn’t surprising given that they don’t really know each other), "
"considerable energy is wasted trying to determine each other’s bona fides.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Building true community "
"requires giving people within the community the power to create or influence "
"the rules that govern the community.<placeholder type=\"footnote\" id=\"1\"/"
"> If the rules are created and imposed in a top-down manner, people feel "
"like they don’t have a voice, which in turn leads to disengagement."
msgstr ""
"Allmenneier som samarbeider planlegger bevisst. Surowiecki skrev: <quote>Det "
"krever mye arbeid å få satt sammen gruppen. Det er vanskelig å sikre at folk "
"jobber i gruppens interesse, og ikke i sin egen. Og når det er mangel på "
"tillit mellom medlemmer av gruppen (som ikke overraskende gitt at de ikke "
"egentlig kjenner hverandre), er en betraktelig del av energien bortkastet "
"ved å prøve å avklare hverandres ærlige interesser</quote>.<placeholder type="
"\"footnote\" id=\"0\"/> Å bygge ekte fellesskap forutsetter å gi  folk i "
"fellesskapet makt til å lage eller påvirke reglene som styrer fellesskapet."
"<placeholder type=\"footnote\" id=\"1\"/> Hvis reglene lages og innføres "
"ovenfra og ned, føler folk at de ikke har noe å si, som igjen fører til "
"tilbaketrekning."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2950
msgid ""
"Community takes work, but working together, or even simply being connected "
"around common interests or values, is in many ways what sharing is about."
msgstr ""
"Fellesskap krever arbeid, men å arbeide sammen, eller ganske enkelt å være "
"knyttet sammen rundt felles interesser eller verdier, er på mange måter hva "
"deling betyr."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2956
msgid "Give more to the commons than you take"
msgstr "Gi mer til fellesskapet enn du tar"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2967
#, fuzzy
#| msgid ""
#| "Giana Eckhardt and Fleura Bardhi, “The Sharing Economy Isn’t about "
#| "Sharing at All,” Harvard Business Review (website), January 28, 2015, "
#| "<ulink url=\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-"
#| "sharing-at-all\"/>."
msgid ""
"Giana Eckhardt and Fleura Bardhi, <quote>The Sharing Economy Isn’t about "
"Sharing at All,</quote> Harvard Business Review (website), January 28, 2015, "
"<ulink url=\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-"
"at-all\"/>."
msgstr ""
"Giana Eckhardt og Fleura Bardhi, “The Sharing Economy Isn’t about Sharing at "
"All,” Harvard Business Review (website), 28. januar 2015, <ulink url="
"\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/>."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2975
msgid ""
"Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with "
"new epilogue (New York: Portfolio, 2012)."
msgstr ""
"Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, ny utgave med "
"ny epolog (New York: Portfolio, 2012)."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2958
#, fuzzy
#| msgid ""
#| "Conventional wisdom in the marketplace dictates that people should try to "
#| "extract as much money as possible from resources. This is essentially "
#| "what defines so much of the so-called sharing economy. In an article on "
#| "the Harvard Business Review website called “The Sharing Economy Isn’t "
#| "about Sharing at All,” authors Giana Eckhardt and Fleura Bardhi explained "
#| "how the anonymous market-driven trans-actions in most sharing-economy "
#| "businesses are purely about monetizing access.<placeholder type=\"footnote"
#| "\" id=\"0\"/> As Lisa Gansky put it in her book The Mesh, the primary "
#| "strategy of the sharing economy is to sell the same product multiple "
#| "times, by selling access rather than ownership.<placeholder type="
#| "\"footnote\" id=\"1\"/> That is not sharing."
msgid ""
"Conventional wisdom in the marketplace dictates that people should try to "
"extract as much money as possible from resources. This is essentially what "
"defines so much of the so-called sharing economy. In an article on the "
"Harvard Business Review website called <quote>The Sharing Economy Isn’t "
"about Sharing at All,</quote> authors Giana Eckhardt and Fleura Bardhi "
"explained how the anonymous market-driven trans-actions in most sharing-"
"economy businesses are purely about monetizing access.<placeholder type="
"\"footnote\" id=\"0\"/> As Lisa Gansky put it in her book The Mesh, the "
"primary strategy of the sharing economy is to sell the same product multiple "
"times, by selling access rather than ownership.<placeholder type=\"footnote"
"\" id=\"1\"/> That is not sharing."
msgstr ""
"Tradisjonell markedsvisdom tilsier at folk bør prøve å trekke ut så mye "
"penger som mulig fra ressursene. Dette er egentlig hva som definerer mye av "
"den såkalte delingsøkonomien. I en artikkel på nettsiden til Harvard "
"Business Review, kalt <quote>The Sharing Economy Isn’t about Sharing at All</"
"quote>, forklarte forfatterne Giana Eckhardt og Fleura Bardhi hvordan "
"anonyme markedsdrevne transaksjoner i de fleste delingsøkonomibedrifter bare "
"er myntet på å tjene penger.<placeholder type=\"footnote\" id=\"0\"/> Som "
"Lisa Gansky førte det i pennen i sin bok The Mesh, er delingsøkonomiens "
"primære strategi å selge det samme produktet flere ganger ved å selge adgang "
"i stedet for eie.<placeholder type=\"footnote\" id=\"1\"/> Det er ikke "
"deling."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2991
#, fuzzy
#| msgid ""
#| "David Lee, “Inside Medium: An Attempt to Bring Civility to the Internet,” "
#| "BBC News, March 3, 2016, <ulink url=\"http://www.bbc.com/news/"
#| "technology-35709680\"/>."
msgid ""
"David Lee, <quote>Inside Medium: An Attempt to Bring Civility to the "
"Internet,</quote> BBC News, March 3, 2016, <ulink url=\"http://www.bbc.com/"
"news/technology-35709680\"/>."
msgstr ""
"David Lee, “Inside Medium: An Attempt to Bring Civility to the Internet,” "
"BBC News, 3. mars 2016, <ulink url=\"http://www.bbc.com/news/"
"technology-35709680\"/>."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2981
msgid ""
"Sharing requires adding as much or more value to the ecosystem than you "
"take. You can’t simply treat open content as a free pool of resources from "
"which to extract value. Part of giving back to the ecosystem is contributing "
"content back to the public under CC licenses. But it doesn’t have to just be "
"about creating content; it can be about adding value in other ways.  The "
"social blogging platform Medium provides value to its community by "
"incentivizing good behavior, and the result is an online space with "
"remarkably high-quality user-generated content and limited trolling."
"<placeholder type=\"footnote\" id=\"0\"/> Opendesk contributes to its "
"community by committing to help its designers make money, in part by "
"actively curating and displaying their work on its platform effectively."
msgstr ""
"Deling krever å legge til lik mengde verdi eller mer i økosystemet enn du "
"tar ut. Du kan ikke bare behandle åpent innhold som en gratis ansamling "
"ressurser å nyttegjøre deg av verdien av. En del av det å gi tilbake til "
"økosystemet er å bidra med innhold tilbake til offentligheten med CC-"
"lisenser. Det trenger ikke å være skaping av innhold; det kan være å øke "
"verdien på andre måter. Den sosiale bloggingsplattformen Medium utgjør verdi "
"for sitt fellesskap ved å fremme god oppførsel, resultatet er et nettsted "
"med bemerkelsesverdig brukergenerert innhold av høy kvalitet, og begrenset "
"forsøpling.<placeholder type=\"footnote\" id=\"0\"/> Opendesk bidrar til "
"sine fellesskap ved å hjelpe sine designere å tjene penger, delvis ved å "
"organisere og effektivt vise arbeidet deres på sin plattform."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3000
msgid ""
"In all cases, it is important to openly acknowledge the amount of value you "
"add versus that which you draw on that was created by others. Being "
"transparent about this builds credibility and shows you are a contributing "
"player in the commons. When your endeavor is making money, that also means "
"apportioning financial compensation in a way that reflects the value "
"contributed by others, providing more to contributors when the value they "
"add outweighs the value provided by you."
msgstr ""
"I alle tilfeller er det viktig å åpent erkjenne hvor stor verdi du legger "
"til, sett opp mot det du trekker veksel på som er laget av andre. Å være "
"åpen om dette bygger troverdighet og viser du er en medvirkende deltaker i "
"allmennseiet. Når din oppgave er å tjene penger, som også betyr å fordele "
"økonomisk kompensasjon på en måte som gjenspeiler verdien andre har bidratt "
"med, og gir mer til bidragsytere når verdien de bidrar med er større verdien "
"du leverer."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3011
msgid "Involve people in what you do"
msgstr "Involver folk i det du gjør"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3016
msgid "Anderson, Makers, 148."
msgstr "Anderson, Makers, 148."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3020
msgid "Shirky, Cognitive Surplus, 164."
msgstr "Shirky, Cognitive Surplus, 164."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3027
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3091
msgid "Whitehurst, foreword to Open Organization."
msgstr "Whitehurst, forord til Open Organization."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3013
msgid ""
"Thanks to the Internet, we can tap into the talents and expertise of people "
"around the globe. Chris Anderson calls it the Long Tail of talent."
"<placeholder type=\"footnote\" id=\"0\"/> But to make collaboration work, "
"the group has to be effective at what it is doing, and the people within the "
"group have to find satisfaction from being involved.<placeholder type="
"\"footnote\" id=\"1\"/> This is easier to facilitate for some types of "
"creative work than it is for others. Groups tied together online collaborate "
"best when people can work independently and asynchronously, and particularly "
"for larger groups with loose ties, when contributors can make simple "
"improvements without a particularly heavy time commitment.<placeholder type="
"\"footnote\" id=\"2\"/>"
msgstr ""
"Takket være Internett, kan vi utnytte talentene og ekspertisen til folk over "
"hele verden. Chris Anderson kaller det <quote>en lang hale</quote> av talent."
"<placeholder type=\"footnote\" id=\"0\"/> Men for å få samarbeid til å "
"virke, må gruppen være effektiv i hva den gjør, og folk i gruppen må finne "
"tilfredshet i å være involvert.<placeholder type=\"footnote\" id=\"1\"/> "
"Dette er enklere å få til for noen typer kreative oppgaver enn andre. "
"Grupper som er knyttet sammen på nettet samarbeider best når folk kan "
"arbeide uavhengig og asynkront, og særlig i større grupper med løselig "
"knyttede bånd, der bidragsytere kan gjøre enkle forbedringer uten å "
"beslaglegge mye tid.<placeholder type=\"footnote\" id=\"2\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3040
msgid "Shirky, Cognitive Surplus, 144."
msgstr "Shirky, Cognitive Surplus, 144."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3031
msgid ""
"As the success of Wikipedia demonstrates, editing an online encyclopedia is "
"exactly the sort of activity that is perfect for massive co-creation because "
"small, incremental edits made by a diverse range of people acting on their "
"own are immensely valuable in the aggregate. Those same sorts of small "
"contributions would be less useful for many other types of creative work, "
"and people are inherently less motivated to contribute when it doesn’t "
"appear that their efforts will make much of a difference.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Suksessen til Wikipedia viser, å redigere et leksikon på nettet er akkurat "
"typen aktivitet som er perfekt for massivt samarbeid fordi små, trinnvise "
"redigeringer laget av en broket forsamling av folk som handler på egen hånd, "
"er svært verdifullt i sum. Samme slags små bidrag vil være mindre nyttig for "
"mange andre typer skapende arbeid, og folk iboende er mindre motivert til å "
"bidra, når det ikke vises at deres innsats utgjør noen særlig forskjell."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><quote><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3052
msgid "Ibid., 154."
msgstr "Ibid., 154."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3064
msgid "Palmer, Art of Asking, 163."
msgstr "Palmer, Art of Asking, 163."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3044
#, fuzzy
#| msgid ""
#| "It is easy to romanticize the opportunities for global cocreation made "
#| "possible by the Internet, and, indeed, the successful examples of it are "
#| "truly incredible and inspiring.  But in a wide range of circumstances—"
#| "perhaps more often than not—community cocreation is not part of the "
#| "equation, even within endeavors built on CC content. Shirky wrote, "
#| "“Sometimes the value of professional work trumps the value of amateur "
#| "sharing or a feeling of belonging.<placeholder type=\"footnote\" id=\"0\"/"
#| "> The textbook publisher OpenStax, which distributes all of its material "
#| "for free under CC licensing, is an example of this dynamic. Rather than "
#| "tapping the community to help cocreate their college textbooks, they "
#| "invest a significant amount of time and money to develop professional "
#| "content. For individual creators, where the creative work is the basis "
#| "for what they do, community cocreation is only rarely a part of the "
#| "picture. Even musician Amanda Palmer, who is famous for her openness and "
#| "involvement with her fans, said, “The only department where I wasn’t open "
#| "to input was the writing, the music itself.”<placeholder type=\"footnote"
#| "\" id=\"1\"/>"
msgid ""
"It is easy to romanticize the opportunities for global cocreation made "
"possible by the Internet, and, indeed, the successful examples of it are "
"truly incredible and inspiring.  But in a wide range of circumstances—"
"perhaps more often than not—community cocreation is not part of the "
"equation, even within endeavors built on CC content. Shirky wrote, "
"<quote>Sometimes the value of professional work trumps the value of amateur "
"sharing or a feeling of belonging.<placeholder type=\"footnote\" id=\"0\"/> "
"The textbook publisher OpenStax, which distributes all of its material for "
"free under CC licensing, is an example of this dynamic. Rather than tapping "
"the community to help cocreate their college textbooks, they invest a "
"significant amount of time and money to develop professional content. For "
"individual creators, where the creative work is the basis for what they do, "
"community cocreation is only rarely a part of the picture. Even musician "
"Amanda Palmer, who is famous for her openness and involvement with her fans, "
"said,</quote>The only department where I wasn’t open to input was the "
"writing, the music itself.\"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Det er lett å romantisere mulighetene for en global samlet innsats gjort "
"mulig gjennom Internett, og faktisk, de vellykkede eksemplene på det er "
"virkelig utrolige og inspirerende. Men i en rekke tilfeller, kanskje oftere "
"enn ikke – allmenneier basert på samlet innsats inngår ikke i ligningen, "
"selv med innsats bygget på CC-innhold. Shirky skrev, <quote>Noen ganger "
"trumfer verdien av profesjonelt arbeid amatørdeling eller en følelse av "
"tilhørighet</quote>.<placeholder type=\"footnote\" id=\"0\"/> "
"Lærebokutgiveren OpenStax, som distribuerer alt sitt materiale gratis med CC-"
"lisensiering, er et eksempel på denne dynamikken. I stedet for å tappe "
"fellesskapet for samlede bidrag til sine college-lærebøker, investerer de en "
"betydelig mengde tid og penger på å utvikle faglig innhold.  For "
"individuelle innholdsleverandører, der det kreative arbeidet er grunnlaget "
"for hva de gjør, er samlede innsatser kun sjeldent sett en del av bildet. "
"Selv musikeren Amanda Palmer, kjent for sin åpenhet og gode forhold til "
"fansen, sa, <quote>Det eneste området der jeg  ikke var åpen for innspill "
"var i skrivingen, musikken i seg selv</quote>.<placeholder type=\"footnote\" "
"id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3075
msgid "Anderson, Makers, 173."
msgstr "Anderson, Makers, 173."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3082
msgid ""
"Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential "
"within Us All (New York: Crown, 2013), 82."
msgstr ""
"Tom Kelley og David Kelley, Creative Confidence: Unleashing the Potential "
"within Us All (New York: Crown, 2013), 82."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3068
#, fuzzy
#| msgid ""
#| "While we tend to immediately think of cocreation and remixing when we "
#| "hear the word collaboration, you can also involve others in your creative "
#| "process in more informal ways, by sharing half-baked ideas and early "
#| "drafts, and interacting with the public to incubate ideas and get "
#| "feedback. So-called “making in public” opens the door to letting people "
#| "feel more invested in your creative work.<placeholder type=\"footnote\" "
#| "id=\"0\"/> And it shows a nonterritorial approach to ideas and "
#| "information. Stephen Covey (of The 7 Habits of Highly Effective People "
#| "fame) calls this the abundance mentality—treating ideas like something "
#| "plentiful—and it can create an environment where collaboration flourishes."
#| "<placeholder type=\"footnote\" id=\"1\"/>"
msgid ""
"While we tend to immediately think of cocreation and remixing when we hear "
"the word collaboration, you can also involve others in your creative process "
"in more informal ways, by sharing half-baked ideas and early drafts, and "
"interacting with the public to incubate ideas and get feedback. So-called "
"<quote>making in public</quote> opens the door to letting people feel more "
"invested in your creative work.<placeholder type=\"footnote\" id=\"0\"/> And "
"it shows a nonterritorial approach to ideas and information. Stephen Covey "
"(of The 7 Habits of Highly Effective People fame) calls this the abundance "
"mentality—treating ideas like something plentiful—and it can create an "
"environment where collaboration flourishes.<placeholder type=\"footnote\" id="
"\"1\"/>"
msgstr ""
"Mens tankene umiddelbart rettes mot samlet innsats og remiksing når vi hører "
"ordet samarbeid, kan du også involvere andre i kreative prosesser på mer "
"uformelle måter, ved å dele halvferdige ideer og tidlige utkast, og "
"samhandling med publikum i det å ruge ut ideer og få tilbakemeldinger. "
"Såkalt <quote>offentlighetslaging</quote> åpner døren for å la folk føle seg "
"mer involvert i ditt kreative arbeid.<placeholder type=\"footnote\" id=\"0\"/"
"> Og det viser en ikke-territoriell tilnærming til ideer og informasjon. "
"Stephen Covey (i The 7 Habits of Highly Effective People fame) kaller dette "
"overflodsmentalitet – å behandle ideer som noe rikelig, og det kan skape et "
"miljø der samarbeid blomstrer.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3099
msgid ""
"Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of "
"Collaborative Consumption (New York: Harper Business, 2010), 188."
msgstr ""
"Rachel Botsman og Roo Rogers, What’s Mine Is Yours: The Rise of "
"Collaborative Consumption (New York: Harper Business, 2010), 188."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3088
msgid ""
"There is no one way to involve people in what you do. They key is finding a "
"way for people to contribute on their terms, compelled by their own "
"motivations.<placeholder type=\"footnote\" id=\"0\"/> What that looks like "
"varies wildly depending on the project. Not every endeavor that is Made with "
"Creative Commons can be Wikipedia, but every endeavor can find ways to "
"invite the public into what they do. The goal for any form of collaboration "
"is to move away from thinking of consumers as passive recipients of your "
"content and transition them into active participants.<placeholder type="
"\"footnote\" id=\"1\"/>"
msgstr ""
"Det er ikke bare en måte å involvere folk i hva du gjør. Det sentrale er å "
"finne en måte for folk å bidra på deres betingelser, nødet av sin egen "
"motivasjon.<placeholder type=\"footnote\" id=\"0\"/> Hvordan det arter seg, "
"varierer vidt, avhengig av prosjektet. Ikke alle tiltak laget med Creative "
"Commons kan være Wikipedia, men enhver oppgave kan finne måter å invitere "
"publikum med på hva som gjøres. Målet for alle former for samarbeid er å "
"bevege seg bort fra å tenke på forbrukere som passive mottakere av innholdet "
"ditt, og ta imot deres aktive deltagelse.<placeholder type=\"footnote\" id="
"\"1\"/>"

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3108
msgid "The Creative Commons Licenses"
msgstr "Creative Commons-lisensene"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3110
msgid ""
"All of the Creative Commons licenses grant a basic set of permissions. At a "
"minimum, a CC- licensed work can be copied and shared in its original form "
"for noncommercial purposes so long as attribution is given to the creator. "
"There are six licenses in the CC license suite that build on that basic set "
"of permissions, ranging from the most restrictive (allowing only those basic "
"permissions to share unmodified copies for noncommercial purposes)  to the "
"most permissive (reusers can do anything they want with the work, even for "
"commercial purposes, as long as they give the creator credit). The licenses "
"are built on copyright and do not cover other types of rights that creators "
"might have in their works, like patents or trademarks."
msgstr ""
"Alle Creative Commons-lisenser gir et grunnleggende sett tillatelser. Som "
"minstemål kan et CC-lisensiert arbeid kopieres og deles i opprinnelig form "
"for ikke-kommersielle formål, så lenge henvisning er gitt til den som har "
"levert innholdet. Det er seks lisenser i CC sine lisenspakker som bygger på "
"det grunnleggende settet med tillatelser, alt fra de mest restriktive "
"(tillatelse av kun grunnleggende tilgang til å dele uforandrede kopier for "
"ikke-kommersielle formål) til den mest romslige (gjenbrukere kan gjøre hva "
"de vil med arbeidet, til og med for kommersielle formål, så lenge de "
"krediterer opphavspersonen). Lisensene er bygget på opphavsrett, og dekker "
"ikke andre typer rettigheter bidragsytere kan ha til sine arbeider, som "
"patenter eller varemerker."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3124
msgid "Here are the six licenses:"
msgstr "Her er de seks lisensene:"

#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3129
msgid "Pictures/10000201000001930000008D83BF99FC0821C489.png"
msgstr "Pictures/10000201000001930000008D83BF99FC0821C489.png"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3127
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3141
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3157
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3169
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3182
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3195
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3215
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3227
#, fuzzy
#| msgid "<placeholder type=\"mediaobject\" id=\"0\"/>"
msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>"
msgstr "<placeholder type=\"mediaobject\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3134
msgid ""
"The Attribution license (CC BY) lets others distribute, remix, tweak, and "
"build upon your work, even commercially, as long as they credit you for the "
"original creation. This is the most accommodating of licenses offered. "
"Recommended for maximum dissemination and use of licensed materials."
msgstr ""
"Attribusjonslisensen (CC BY) lar andre distribuere, remikse, justere og "
"bygge videre på ditt arbeid, også kommersielt, så lenge de krediterer deg "
"for det opprinnelige arbeidet. Dette er den mest imøtekommende lisensen som "
"tilbys. Anbefalt for maksimal spredning og bruk av lisensiert materiale."

#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3143
msgid "Pictures/10000201000001930000008DFD3592CB17C4EC38.png"
msgstr "Pictures/10000201000001930000008DFD3592CB17C4EC38.png"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3148
#, fuzzy
#| msgid ""
#| "The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, "
#| "and build upon your work, even for commercial purposes, as long as they "
#| "credit you and license their new creations under identical terms. This "
#| "license is often compared to “copyleft” free and open source software "
#| "licenses. All new works based on yours will carry the same license, so "
#| "any derivatives will also allow commercial use."
msgid ""
"The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and "
"build upon your work, even for commercial purposes, as long as they credit "
"you and license their new creations under identical terms. This license is "
"often compared to <quote>copyleft</quote> free and open source software "
"licenses.  All new works based on yours will carry the same license, so any "
"derivatives will also allow commercial use."
msgstr ""
"Med Attribution-Share-Alike-lisensen (CC BY-SA) kan andre mikse sammen på "
"nytt, finjustere og bygge videre på ditt arbeid, selv til kommersielle "
"formål, så lenge de krediterer deg og lisensierer sine nye bidrag med samme "
"vilkår. Denne lisensen er ofte sammenlignet med <quote>copyleft</quote>-"
"lisenser og andre fri programvare-lisenser. Alle nye arbeider basert på ditt "
"skal ha samme lisens, så alle avledede verk skal også tillate kommersielt "
"bruk."

#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3159
msgid "Pictures/10000201000001930000008D254882DE24793FEA.png"
msgstr "Pictures/10000201000001930000008D254882DE24793FEA.png"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3164
msgid ""
"The Attribution-NoDerivs license (CC BY-ND) allows for redistribution, "
"commercial and noncommercial, as long as it is passed along unchanged with "
"credit to you."
msgstr ""
"Attribution-NoDerivs-lisensen (CC BY-ND) tillater videre distribusjon, "
"kommersielt og ikke-kommersielt, så lenge arbeidet leveres videre uendret og "
"kreditert deg."

#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3171
msgid "Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png"
msgstr "Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3176
msgid ""
"The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak, "
"and build upon your work noncommercially. Although their new works must also "
"acknowledge you, they don’t have to license their derivative works on the "
"same terms."
msgstr ""
"Attribution-NonCommercial-lisensen (CC BY-NC) lar andre remikse, finjustere, "
"og ikke-kommersielt bygge videre på arbeidet. Selv om deres nye arbeider "
"også må anerkjenne deg, trenger de ikke å lisensiere sine avledede arbeider "
"på samme vilkår."

#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3184
msgid "Pictures/10000201000001930000008D16DA603376395620.png"
msgstr "Pictures/10000201000001930000008D16DA603376395620.png"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3189
msgid ""
"The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others "
"remix, tweak, and build upon your work noncommercially, as long as they "
"credit you and license their new creations under the same terms."
msgstr ""
"Attribution-NonCommercial-ShareAlike-lisensen (CC BY-NC-SA) lar andre "
"remikse, finjustere og bygge på arbeidet ditt ikke-kommersielt, så lenge de "
"krediterer deg, og lisensierer sine nye arbeider på samme vilkår."

#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3197
msgid "Pictures/10000201000001930000008DC3FEF92B21310965.png"
msgstr "Pictures/10000201000001930000008DC3FEF92B21310965.png"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3202
msgid ""
"The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most "
"restrictive of our six main licenses, only allowing others to download your "
"works and share them with others as long as they credit you, but they can’t "
"change them or use them commercially."
msgstr ""
"Attribution-NonCommercial-NoDerivs-lisensen (CC BY-NC-ND) er den mest "
"restriktive av våre seks viktigste lisenser, og tillater bare andre å laste "
"ned dine verk, og dele dem med andre så lenge de krediterer deg, men de kan "
"ikke endre dem eller bruke dem kommersielt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3209
msgid ""
"In addition to these six licenses, Creative Commons has two public-domain "
"tools—one for creators and the other for those who manage collections of "
"existing works by authors whose terms of copyright have expired:"
msgstr ""
"I tillegg til disse seks lisenser, har Creative Commons to offentlige "
"verktøy – en for innholdsleverandører og den andre for dem som håndterer "
"samlinger av eksisterende arbeider der opphavsrettighetene til bidragsyterne "
"har utløpt:"

#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3217
msgid "Pictures/10000201000001900000008DBE3414994CD27786.png"
msgstr "Pictures/10000201000001900000008DBE3414994CD27786.png"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3222
#, fuzzy
#| msgid ""
#| "CC0 enables authors and copyright owners to dedicate their works to the "
#| "worldwide public domain (“no rights reserved”)."
msgid ""
"CC0 enables authors and copyright owners to dedicate their works to the "
"worldwide public domain (<quote>no rights reserved</quote>)."
msgstr ""
"CC0 gjør det mulig for innholdsleverandører og rettighetshavere å tilegne "
"sine arbeider til det verdensomspennende offentlige domenet (<quote>ingen "
"rettigheter reservert</quote>)."

#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3229
msgid "Pictures/10000201000001900000008D36DCD649C5B1411F.png"
msgstr "Pictures/10000201000001900000008D36DCD649C5B1411F.png"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3234
msgid ""
"The Creative Commons Public Domain Mark facilitates the labeling and "
"discovery of works that are already free of known copyright restrictions."
msgstr ""
"Creative Commons Public Domain Mark muliggjør merkingen, og å oppdage verk "
"som allerede er fri for kjente opphavsrettsrestriksjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3239
msgid ""
"In our case studies, some use just one Creative Commons license, others use "
"several. Attribution (found in thirteen case studies)  and Attribution-"
"ShareAlike (found in eight studies) were the most common, with the other "
"licenses coming up in four or so case studies, including the public-domain "
"tool CC0. Some of the organizations we profiled offer both digital content "
"and software: by using open-source-software licenses for the software code "
"and Creative Commons licenses for digital content, they amplify their "
"involvement with and commitment to sharing."
msgstr ""
"I våre referansestudier bruker noen bare én Creative Commons-lisens, andre "
"bruker flere. Attribution (funnet i tretten referansestudier) og Attribution-"
"ShareAlike (funnet i åtte studier) var de vanligste. De andre lisenser "
"forekom i rundt fire referansestudier, inkludert det offentlig-domene-"
"verktøyet CC0. Noen organisasjoner vi undersøkte tilbyr både digitalt "
"innhold og programvare. Ved å bruke fri programvare-lisenser for "
"programvarekoden og Creative Commons-lisenser for digitalt innhold, "
"forsterker de sitt engasjement og forpliktelse til å dele."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3250
msgid ""
"There is a popular misconception that the three NonCommercial licenses "
"offered by CC are the only options for those who want to make money off "
"their work. As we hope this book makes clear, there are many ways to make "
"endeavors that are Made with Creative Commons sustainable. Reserving "
"commercial rights is only one of those ways. It is certainly true that a "
"license that allows others to make commercial use of your work (CC BY, CC BY-"
"SA, and CC BY-ND) forecloses some traditional revenue streams. If you apply "
"an Attribution (CC BY) license to your book, you can’t force a film company "
"to pay you royalties if they turn your book into a feature-length film, or "
"prevent another company from selling physical copies of your work."
msgstr ""
"Det er en vidtfavnende misforståelse at de tre ikke-kommersielle lisensene "
"som CC tilbyr er de eneste alternativene for dem som ønsker å tjene penger "
"på arbeidet sitt. Vi håper denne boka får frem at det er mange måter å få "
"Creative Commons-lisensierte tiltak til å vare. Å forbeholde de kommersielle "
"rettigheter til seg selv er bare én av dem. Det er helt klart tilfelle at en "
"lisens som tillater kommersiell bruk av verket ditt (CC BY, CC BY-SA, og CC "
"BY-ND) hindrer noen tradisjonelle inntektsårer. Hvis du tar i bruk en "
"Navngivingslisens (CC BY) for boken din, kan du ikke tvinge et filmselskap "
"til å betale deg godtgjørelse for bruk hvis de gjør boken din til en "
"helaftens film, eller forhindre et annet selskap å selge fysiske kopier av "
"verket ditt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3264
msgid ""
"The decision to choose a NonCommercial and/or NoDerivs license comes down to "
"how much you need to retain control over the creative work. The "
"NonCommercial and NoDerivs licenses are ways of reserving some significant "
"portion of the exclusive bundle of rights that copyright grants to creators. "
"In some cases, reserving those rights is important to how you bring in "
"revenue. In other cases, creators use a NonCommercial or NoDerivs license "
"because they can’t give up on the dream of hitting the creative jackpot.  "
"The music platform Tribe of Noise told us the NonCommercial licenses were "
"popular among their users because people still held out the dream of having "
"a major record label discover their work."
msgstr ""
"Beslutningen om å velge en NonCommercial- (ikke-kommersiell) og/eller "
"NoDerivs-lisens (ikke-derivate lisenser) resulterer i en vurdering av hvor "
"mye du trenger å beholde kontrollen over det kreative arbeidet.  "
"NonCommercial- and NoDerivs-lisensene er måter å reservere en vesentlig del "
"av det eksklusive knippet av rettigheter som opphavsrett sikrer "
"innholdsleverandører. I noen tilfeller er å reservere disse rettighetene "
"viktig for hvordan du bringer inn inntekter. I andre tilfeller bruker "
"innholdsleverandørene NonCommercial- og NoDerivs-lisensene fordi de ikke kan "
"gi opp drømmen om å treffe den kreative storgevinsten. Musikkplattformen "
"Tribe of Noise fortalte oss at NonCommercial-lisensene var populære blant "
"brukerne deres fordi de fortsatt holdt på drømmen om at et større "
"plateselskap ville oppdage arbeidet deres."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3277
msgid ""
"Other times the decision to use a more restrictive license is due to a "
"concern about the integrity of the work. For example, the nonprofit "
"TeachAIDS uses a NoDerivs license for its educational materials because the "
"medical subject matter is particularly important to get right."
msgstr ""
"Andre ganger er beslutningen om å bruke en mer restriktiv lisens på grunn av "
"bekymring for arbeidets integritet. For eksempel bruker det ikke-"
"kommersielle TeachAIDS en NoDerivs-lisens for sine læremidler fordi dette "
"medisinske emnet er særlig viktig å få riktig."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3284
msgid ""
"There is no one right way. The NonCommercial and NoDerivs restrictions "
"reflect the values and preferences of creators about how their creative work "
"should be reused, just as the ShareAlike license reflects a different set of "
"values, one that is less about controlling access to their own work and more "
"about ensuring that whatever gets created with their work is available to "
"all on the same terms. Since the beginning of the commons, people have been "
"setting up structures that helped regulate the way in which shared resources "
"were used. The CC licenses are an attempt to standardize norms across all "
"domains."
msgstr ""
"Det er ikke bare én riktig måte. NonCommercial- og NoDerivs-begrensningene "
"gjenspeiler verdiene og preferansene til innholdsleverandørene om hvordan "
"deres kreative arbeid skal gjenbrukes, akkurat som ShareAlike-lisensen "
"gjenspeiler et annet sett med verdier, som er mindre om å kontrollere "
"tilgangen til sitt eget arbeid og mer om å sikre at det som blir laget med "
"deres arbeid, er tilgjengelig for alle på samme vilkår. Siden starten av "
"allmenneier, har folk laget strukturer som hjalp til å regulere måten delte "
"ressurser ble brukt på. CC-lisensene er et forsøk på å standardisere normer "
"på tvers av alle domener."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3296
msgid "Note"
msgstr "Merk"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3299
#, fuzzy
#| msgid ""
#| "For more about the licenses including examples and tips on sharing your "
#| "work in the digital commons, start with the Creative Commons page called "
#| "“Share Your Work” at <ulink url=\"http://creativecommons.org/share-your-"
#| "work/\"/>."
msgid ""
"For more about the licenses including examples and tips on sharing your work "
"in the digital commons, start with the Creative Commons page called "
"<quote>Share Your Work</quote> at"
msgstr ""
"For mer om lisenser, inkludert eksempler og tips om deling av verkene dine i "
"den digitale allmenningen, start med Creative Commons-siden med tittelen "
"<quote>Del ditt verk</quote> på <ulink url=\"http://creativecommons.org/"
"share-your-work/\"/>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3303
#, fuzzy
#| msgid "<ulink url=\"http://theconversation.com/us/charter\"/>"
msgid "<ulink url=\"http://creativecommons.org/share-your-work/\"/>."
msgstr "<ulink url=\"http://theconversation.com/us/charter\"/>"

#. type: Content of: <book><part><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3308
msgid "The Case Studies"
msgstr "Referansestudiene"

#. type: Content of: <book><part><partintro><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3311
msgid ""
"The twenty-four case studies in this section were chosen from hundreds of "
"nominations received from Kickstarter backers, Creative Commons staff, and "
"the global Creative Commons community. We selected eighty potential "
"candidates that represented a mix of industries, content types, revenue "
"streams, and parts of the world.  Twelve of the case studies were selected "
"from that group based on votes cast by Kickstarter backers, and the other "
"twelve were selected by us."
msgstr ""
"De tjuefire referansestudiene i denne seksjonen ble valgt ut blant hundrevis "
"av forslag fra hjelpere i Kickstarter, medarbeidere i Creative Commons og "
"det globale Creative Commons-felleskapet. Vi valgte åtti potensielle "
"kandidater som representerte en blanding av bransjer, innholdstyper, "
"inntektsstrømmer, og deler av verden. Tolv referansestudier ble valgt ut fra "
"den gruppen etter avstemning blant Kickstarters hjelpere, og de andre tolv "
"ble valgt av oss."

#. type: Content of: <book><part><partintro><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3321
msgid ""
"We did background research and conducted interviews for each case study, "
"based on the same set of basic questions about the endeavor.  The idea for "
"each case study is to tell the story about the endeavor and the role sharing "
"plays within it, largely the way in which it was told to us by those we "
"interviewed."
msgstr ""
"Vi gjorde bakgrunnsundersøkelser, og gjennomførte intervjuer for hver "
"referansestudie, basert på det samme settet med grunnleggende spørsmål om "
"innsatsen. Fokus for hver referansestudie er å fortelle historien om hvordan "
"oppgaven løses, og hvilken rolle deling spiller i den, i hovedsak som måten "
"det ble fortalt oss på av dem vi intervjuet."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3329
msgid "Arduino"
msgstr "Arduino"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3332
msgid ""
"Arduino is a for-profit open-source electronics platform and computer "
"hardware and software company. Founded in 2005 in Italy."
msgstr ""
"Arduino er en inntektsgivende fri programvareplattform, og et selskap for "
"datautstyr og programvare. Grunnlagt i 2005 i Italia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3337
msgid "<ulink url=\"http://www.arduino.cc\"/>"
msgstr "<ulink url=\"http://www.arduino.cc\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3339
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies (sales of boards, modules, shields, and kits), licensing a trademark "
"(fees paid by those who want to sell Arduino products using their name)"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for fysiske "
"kopier (salg av brett, moduler, skjermer og byggesett), lisensiering av et "
"varemerke (avgifter betalt av dem som ønsker å selge Arduino-produkter med "
"deres navn)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3344
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4200
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 4, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 4. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3347
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: David Cuartielles and Tom "
"Igoe, cofounders"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: David Cuartielles og Tom "
"Igoe, medgrunnleggere"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3351
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4207
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4643
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4888
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5173
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5483
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5998
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6252
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6574
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6926
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7470
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7754
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8224
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9005
msgid "Profile written by Paul Stacey"
msgstr "Profilen skrevet av Paul Stacey"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3355
msgid ""
"In 2005, at the Interaction Design Institute Ivrea in northern Italy, "
"teachers and students needed an easy way to use electronics and programming "
"to quickly prototype design ideas. As musicians, artists, and designers, "
"they needed a platform that didn’t require engineering expertise. A group of "
"teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe, "
"Gianluca Martino, and David Mellis, built a platform that combined different "
"open technologies. They called it Arduino. The platform integrated software, "
"hardware, microcontrollers, and electronics. All aspects of the platform "
"were openly licensed: hardware designs and documentation with the "
"Attribution-Share-Alike license (CC BY-SA), and software with the GNU "
"General Public License."
msgstr ""
"I 2005, hos Interaction Design Institute Ivrea i Nord-Italia, trengte lærere "
"og elever en enkel måte å bruke elektronikk og programmering på for raskt å "
"lage prototyper for designideer. Musikere, kunstnere og designere trengte en "
"plattform som ikke krevde ingeniørekspertise. En gruppe lærere og studenter, "
"inkludert Massimo Banzi, David Cuartielles, Tom Igoe, Gianluca Martino og "
"David Mellis, bygget en plattform som kombinerte ulike åpne kildekode-"
"teknologier. De kalte det Arduino. Plattformen integrerte programvare, "
"maskinvare, mikrokontroller og elektronikk. Alle aspekter av plattformen ble "
"åpent lisensiert: Maskinvare og dokumentasjon med Attribution-Share-Alike-"
"lisens (CC BY-SA), og programvare med GNU General Public License."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3369
msgid ""
"Arduino boards are able to read inputs—light on a sensor, a finger on a "
"button, or a Twitter message—and turn it into outputs—activating a motor, "
"turning on an LED, publishing something online. You send a set of "
"instructions to the microcontroller on the board by using the Arduino "
"programming language and Arduino software (based on a piece of open-source "
"software called Processing, a programming tool used to make visual art)."
msgstr ""
"Kretskort fra Arduino kan lese inndata: Lys på en sensor, en finger på en "
"knapp, eller en Twitter-melding, og snu den til utganger, aktivere en motor, "
"slå på en LED, og publisere noe på nettet. Du sender et sett med "
"instruksjoner til mikrokontrollen på kortet ved hjelp av Arduino "
"programmeringsspråk og Arduino programvare (basert på fri programvare ved "
"navn Processing, et programmeringsverktøy som brukes til å lage visuell "
"kunst)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3378
#, fuzzy
#| msgid ""
#| "“The reasons for making Arduino open source are complicated,” Tom says. "
#| "Partly it was about supporting flexibility. The open-source nature of "
#| "Arduino empowers users to modify it and create a lot of different "
#| "variations, adding on top of what the founders build.  David says this "
#| "“ended up strengthening the platform far beyond what we had even thought "
#| "of building.”"
msgid ""
"<quote>The reasons for making Arduino open source are complicated,</quote> "
"Tom says. Partly it was about supporting flexibility. The open-source nature "
"of Arduino empowers users to modify it and create a lot of different "
"variations, adding on top of what the founders build. David says this "
"<quote>ended up strengthening the platform far beyond what we had even "
"thought of building.</quote>"
msgstr ""
"<quote>Grunnene for å lage Arduino som fri programvare er kompliserte</"
"quote>, sier Tom. Delvis handlet det om å støtte fleksibilitet. Opplegget "
"med åpen kildekode hos Arduino gir brukere rett til å endre og lage mange "
"forskjellige varianter, lagt på toppen av det grunnleggende bygget. David "
"sier dette  <quote>endte opp med å styrke plattformen langt utover det vi "
"til og med hadde tenkt å bygge</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3387
#, fuzzy
#| msgid ""
#| "For Tom another factor was the impending closure of the Ivrea design "
#| "school. He’d seen other organizations close their doors and all their "
#| "work and research just disappear. Open-sourcing ensured that Arduino "
#| "would outlive the Ivrea closure. Persistence is one thing Tom really "
#| "likes about open source. If key people leave, or a company shuts down, an "
#| "open-source product lives on. In Tom’s view, “Open sourcing makes it "
#| "easier to trust a product.”"
msgid ""
"For Tom another factor was the impending closure of the Ivrea design school. "
"He’d seen other organizations close their doors and all their work and "
"research just disappear. Open-sourcing ensured that Arduino would outlive "
"the Ivrea closure. Persistence is one thing Tom really likes about open "
"source. If key people leave, or a company shuts down, an open-source product "
"lives on. In Tom’s view, <quote>Open sourcing makes it easier to trust a "
"product.</quote>"
msgstr ""
"En annen faktor for Tom var den forestående nedleggelsen av Ivrea "
"designskole. Han hadde sett andre organisasjoner lukke dørene, og at alt "
"arbeid og forskning bare forsvant. Fri programvare sikret at Arduino ville "
"overleve nedleggelsen av Ivrea. Utholdenhet er den tingen Tom virkelig liker "
"ved fri programvare. Hvis nøkkelpersoner drar, eller selskapet avsluttes, "
"lever et fri programvareprodukt videre. Etter Toms syn, <quote>Bruk av fri "
"programvare gjør det enklere å stole på et produkt</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3397
msgid ""
"With the school closing, David and some of the other Arduino founders "
"started a consulting firm and multidisciplinary design studio they called "
"Tinker, in London. Tinker designed products and services that bridged the "
"digital and the physical, and they taught people how to use new technologies "
"in creative ways.  Revenue from Tinker was invested in sustaining and "
"enhancing Arduino."
msgstr ""
"Da skolen lukket, startet David og noen av de andre Arduino-grunnleggerne et "
"konsulentfirma og et tverrfaglig designstudio de kalte Tinker, i London. "
"Tinker utviklet produkter og tjenester som bygde bro mellom det digitale og "
"fysiske, og de lærte folk hvordan de skulle bruke ny teknologi på kreative "
"måter. Inntekter fra Tinker ble investert i å opprettholde og styrke Arduino."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3406
#, fuzzy
#| msgid ""
#| "For Tom, part of Arduino’s success is because the founders made "
#| "themselves the first customer of their product. They made products they "
#| "themselves personally wanted. It was a matter of “I need this thing,” not "
#| "“If we make this, we’ll make a lot of money.” Tom notes that being your "
#| "own first customer makes you more confident and convincing at selling "
#| "your product."
msgid ""
"For Tom, part of Arduino’s success is because the founders made themselves "
"the first customer of their product. They made products they themselves "
"personally wanted. It was a matter of <quote>I need this thing,</quote> not "
"<quote>If we make this, we’ll make a lot of money.</quote> Tom notes that "
"being your own first customer makes you more confident and convincing at "
"selling your product."
msgstr ""
"For Tom er del av Arduinos suksess at grunnleggerne gjorde seg selv til den "
"første kunden til produktet deres. De laget de produktene de selv personlig "
"ønsket. Det var et spørsmål om <quote>Jeg trenger denne tingen</quote>, ikke "
"<quote>Hvis vi lager denne, vil vi tjene mye penger</quote>. Tom bemerker at "
"å være din egen første kunde, gjør deg mer trygg og overbevisende når "
"produktet ditt skal selges."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3414
msgid ""
"Arduino’s business model has evolved over time—and Tom says model is a "
"grandiose term for it. Originally, they just wanted to make a few boards and "
"get them out into the world. They started out with two hundred boards, sold "
"them, and made a little profit. They used that to make another thousand, "
"which generated enough revenue to make five thousand. In the early days, "
"they simply tried to generate enough funding to keep the venture going day "
"to day. When they hit the ten thousand mark, they started to think about "
"Arduino as a company. By then it was clear you can open-source the design "
"but still manufacture the physical product. As long as it’s a quality "
"product and sold at a reasonable price, people will buy it."
msgstr ""
"Arduinos forretningsmodell har utviklet seg over tid – og Tom sier at modell "
"er et stort ord for den. Opprinnelig ville de bare lage noen få kretskort, "
"og få dem ut i verden. De startet med to hundre kort, solgte dem, og fikk et "
"lite overskudd. De brukte det til å lage tusen til, som genererte nok "
"inntekter til å lage fem tusen.  I begynnelsen prøvde de bare å generere nok "
"midler for å holde virksomheten gående fra dag til dag. Da de traff titusen-"
"merket, begynte de å tenke på Arduino som selskap. Innen da var det klart at "
"det var mulig å åpent dele utformingen og fortsatt produsere det fysiske "
"produktet. Så lenge det er et kvalitetsprodukt, og selges til en rimelig "
"pris, vil folk kjøpe det."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3428
msgid ""
"Arduino now has a worldwide community of makers—students, hobbyists, "
"artists, programmers, and professionals. Arduino provides a wiki called "
"Playground (a wiki is where all users can edit and add pages, contributing "
"to and benefiting from collective research). People share code, circuit "
"diagrams, tutorials, DIY instructions, and tips and tricks, and show off "
"their projects. In addition, there’s a multilanguage discussion forum where "
"users can get help using Arduino, discuss topics like robotics, and make "
"suggestions for new Arduino product designs. As of January 2017, 324,928 "
"members had made 2,989,489 posts on 379,044 topics. The worldwide community "
"of makers has contributed an incredible amount of accessible knowledge "
"helpful to novices and experts alike."
msgstr ""
"Arduino har nå et verdensomspennende fellesskap av produsenter, studenter og "
"amatører, kunstnere, programmerere og fagfolk. Arduino tilbyr en wiki kalt "
"Playground (en wiki er der alle brukere kan redigere og legge til sider, "
"bidra til, og ha nytte av kollektive undersøkelser). Folk deler koden, "
"kretsdiagrammer, veiledninger, gjør det selv-instruksjoner (DIY "
"instructions: Do it yourself instructions) og tips og triks, og viser frem "
"sine prosjekter. I tillegg er det et flerspråklig diskusjonsforum der "
"brukere kan få hjelp til å bruke Arduino, diskutere temaer som robotikk, og "
"komme med forslag til nye Arduino produktdesigner. I januar 2017 hadde 324 "
"928 medlemmer laget 2 989 489 innlegg om 379 044 emner. Det "
"verdensomspennende fellesskapet av bidragsytere har gitt en utrolig mengde "
"tilgjengelig kunnskap til hjelp både for nybegynnere og eksperter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3442
msgid ""
"Transitioning Arduino from a project to a company was a big step.  Other "
"businesses who made boards were charging a lot of money for them. Arduino "
"wanted to make theirs available at a low price to people across a wide range "
"of industries. As with any business, pricing was key. They wanted prices "
"that would get lots of customers but were also high enough to sustain the "
"business."
msgstr ""
"Arduinos overgang fra et prosjekt til et selskap var et stort skritt. Andre "
"bedrifter som lagde kretskort tok mye penger for dem.  Arduino ville gjøre "
"sine tilgjengelig til en lav pris for et bredt spekter av bransjer. Som med "
"all forretning var priser nøkkelen. De ønsket priser som vil gi mange "
"kunder, men som også var høy nok til å opprettholde virksomheten."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3450
#, fuzzy
#| msgid ""
#| "For a business, getting to the end of the year and not being in the red "
#| "is a success. Arduino may have an open-licensing strategy, but they are "
#| "still a business, and all the things needed to successfully run one still "
#| "apply. David says, “If you do those other things well, sharing things in "
#| "an open-source way can only help you.”"
msgid ""
"For a business, getting to the end of the year and not being in the red is a "
"success. Arduino may have an open-licensing strategy, but they are still a "
"business, and all the things needed to successfully run one still apply. "
"David says, <quote>If you do those other things well, sharing things in an "
"open-source way can only help you.</quote>"
msgstr ""
"For en bedrift er det å ikke gå i minus ved slutten av året en suksess. "
"Arduino kan ha en åpen lisensstrategi, men de er fortsatt en bedrift, og alt "
"som er nødvendig for å kunne drive den vellykket, gjelder fortsatt. David "
"sier, <quote>Hvis du gjør disse andre tingene bra, kan å dele ting slik fri "
"programvare gjør det bare hjelpe deg</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3458
msgid ""
"While openly licensing the designs, documentation, and software ensures "
"longevity, it does have risks. There’s a possibility that others will create "
"knockoffs, clones, and copies. The CC BY-SA license means anyone can produce "
"copies of their boards, redesign them, and even sell boards that copy the "
"design. They don’t have to pay a license fee to Arduino or even ask "
"permission. However, if they republish the design of the board, they have to "
"give attribution to Arduino. If they change the design, they must release "
"the new design using the same Creative Commons license to ensure that the "
"new version is equally free and open."
msgstr ""
"Mens åpen lisensiering  av design, dokumentasjon og programvare sikrer lang "
"levetid, innebærer den også risiko. Det er en mulighet for at andre vil lage "
"rimeligere utgaver, kloner og kopier. CC BY-SA lisensen betyr at hvem som "
"helst kan lage kopier av deres kretskort, omforme dem, og til og med selge "
"kretskort som kopierer designet. De trenger ikke å betale en lisensavgift "
"til Arduino, eller be om tillatelse. Men hvis de gir ut kortet igjen med "
"samme design, må de henvise til Arduino. Hvis de endrer utformingen, må de "
"utgi den nye utformingen med samme Creative Commons-lisens for å sikre at "
"den nye versjonen er like fri og åpen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3470
msgid ""
"Tom and David say that a lot of people have built companies off of Arduino, "
"with dozens of Arduino derivatives out there. But in contrast to closed "
"business models that can wring money out of the system over many years "
"because there is no competition, Arduino founders saw competition as keeping "
"them honest, and aimed for an environment of collaboration. A benefit of "
"open over closed is the many new ideas and designs others have contributed "
"back to the Arduino ecosystem, ideas and designs that Arduino and the "
"Arduino community use and incorporate into new products."
msgstr ""
"Tom og David sier at mange mennesker har bygget selskaper ut fra Arduino, "
"med dusinvis av Arduino-derivater der ute. Men i motsetning til lukkede "
"forretningsmodeller som kan vri penger ut av systemet over mange år fordi "
"det ikke er konkurranse, så Arduinos grunnleggere konkurransen som et middel "
"til å holder seg ærlige, og rettet mot et samarbeidsmiljø. En fordel med "
"åpen fremfor lukket, er de mange nye ideer og design andre har bidratt med "
"til Arduinos økosystem, ideer og design som Arduino og Arduinos allmenneie "
"bruker og innlemmer i nye produkter."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3490
msgid "<ulink url=\"http://www.arduino.cc/en/Main/Products\"/>"
msgstr "<ulink url=\"http://www.arduino.cc/en/Main/Products\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3481
msgid ""
"Over time, the range of Arduino products has diversified, changing and "
"adapting to new needs and challenges. In addition to simple entry level "
"boards, new products have been added ranging from enhanced boards that "
"provide advanced functionality and faster performance, to boards for "
"creating Internet of Things applications, wearables, and 3-D printing. The "
"full range of official Arduino products includes boards, modules (a smaller "
"form-factor of classic boards), shields (elements that can be plugged onto a "
"board to give it extra features), and kits.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""
"Over tid har Arduino-produkter spredt seg, endret og tilpasset seg nye behov "
"og utfordringer. I tillegg til enkle kretskort på inngangsnivå, er nye "
"produkter lagt til – fra forbedrede kort med avansert funksjonalitet og "
"raskere ytelse, til kort for å lage programmer til Internett av ting, "
"iklebare ting og 3D-printing (3D-utskrift).  Hele spekteret av offisielle "
"Arduino-produkter inkluderer kort, moduler (en mindre formfaktor av "
"klassiske kort), skjold (shield) (elementer som kan kobles til et kort for å "
"gi den ekstra funksjoner) og byggesett.<placeholder type=\"footnote\" id="
"\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3493
#, fuzzy
#| msgid ""
#| "Arduino’s focus is on high-quality boards, well-designed support "
#| "materials, and the building of community; this focus is one of the keys "
#| "to their success. And being open lets you build a real community. David "
#| "says Arduino’s community is a big strength and something that really does "
#| "matter—in his words, “It’s good business.” When they started, the Arduino "
#| "team had almost entirely no idea how to build a community. They started "
#| "by conducting numerous workshops, working directly with people using the "
#| "platform to make sure the hardware and software worked the way it was "
#| "meant to work and solved people’s problems. The community grew "
#| "organically from there."
msgid ""
"Arduino’s focus is on high-quality boards, well-designed support materials, "
"and the building of community; this focus is one of the keys to their "
"success. And being open lets you build a real community. David says "
"Arduino’s community is a big strength and something that really does matter—"
"in his words, <quote>It’s good business.</quote> When they started, the "
"Arduino team had almost entirely no idea how to build a community. They "
"started by conducting numerous workshops, working directly with people using "
"the platform to make sure the hardware and software worked the way it was "
"meant to work and solved people’s problems. The community grew organically "
"from there."
msgstr ""
"Arduinos fokus er på høykvalitetskort, godt designet støttemateriell og "
"bygging av dets fellesskap; Dette fokuset er én av nøklene til suksessen. "
"Det å være åpen lar deg bygge et ekte fellesskap. David sier Arduinos "
"samfunn er en stor styrke, og noe som virkelig gjør noe, som han sier; "
"<quote>det er god forretningsførsel</quote>. Da de begynte, hadde Arduino-"
"laget nesten ingen anelse om hvordan man bygger fellesskap. De startet ved å "
"gjennomføre mange arbeidsrettede møter, direkte med personer som bruker "
"plattformen for å kontrollere at maskinvaren og programvaren var "
"formålstjenlig i det å løse folks problemer. Samfunnet vokste organisk "
"derfra."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3506
msgid ""
"A key decision for Arduino was trademarking the name. The founders needed a "
"way to guarantee to people that they were buying a quality product from a "
"company committed to open-source values and knowledge sharing. Trademarking "
"the Arduino name and logo expresses that guarantee and helps customers "
"easily identify their products, and the products sanctioned by them. If "
"others want to sell boards using the Arduino name and logo, they have to pay "
"a small fee to Arduino. This allows Arduino to scale up manufacturing and "
"distribution while at the same time ensuring the Arduino brand isn’t hurt by "
"low-quality copies."
msgstr ""
"En viktig beslutning for Arduino var å varemerke navnet. Grunnleggerne "
"trengte en måte å garantere folk kjøp av et kvalitetsprodukt fra et selskap "
"forpliktet til friprog-filosofi og kunnskapsdeling. Varemerking av Arduinos "
"navn og logo gir den garantien, og hjelper kundene å enkelt identifisere "
"produktene deres, samt produkter godkjent av dem. Hvis andre ønsker å selge "
"kretskort med Arduino-navn og -logo, må de betale en liten avgift til "
"Arduino. Dette gjør Arduino i stand til å skalere opp produksjon og "
"distribusjon, samtidig som det forsikres at Arduino-merket ikke skades av "
"lavkvalitetskopier."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3518
msgid ""
"Current official manufacturers are Smart Projects in Italy, SparkFun in the "
"United States, and Dog Hunter in Taiwan/China.  These are the only "
"manufacturers that are allowed to use the Arduino logo on their boards. "
"Trademarking their brand provided the founders with a way to protect "
"Arduino, build it out further, and fund software and tutorial development. "
"The trademark-licensing fee for the brand became Arduino’s revenue-"
"generating model."
msgstr ""
"Gjeldende offisielle produsenter er Smart-prosjekter i Italia, SparkFun i "
"USA, og Dog Hunter i Taiwan/Kina. Dette er de eneste produsentene som "
"tillates å bruke Arduino-logoen på brettene sine.  Varemerkingen av "
"merkevaren deres har gitt grunnleggerne en måte å beskytte Arduino på, bygge "
"ut videre, finansiere utvikling av programvare og opplæring. Gebyret for "
"varemerke-lisensiering ble Arduinos inntektsgenererende modell."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3528
msgid ""
"How far to open things up wasn’t always something the founders perfectly "
"agreed on. David, who was always one to advocate for opening things up more, "
"had some fears about protecting the Arduino name, thinking people would be "
"mad if they policed their brand. There was some early backlash with a "
"project called Freeduino, but overall, trademarking and branding has been a "
"critical tool for Arduino."
msgstr ""
"Hvilken utstrekning ting skulle åpnes i var ikke alltid noe grunnleggerne "
"var helt enige om. David, som alltid gikk i bresjen for å åpne ting opp mer, "
"hadde noen betenkeligheter om beskyttelse av Arduino-navnet, idet folk "
"kanskje ville bli sure om de beskyttet deres merkevare. Det var et tidlig "
"tilbakeslag med et prosjekt kalt Freeduino, men samlet, varemerking og "
"merkevarebygging har vært et kritisk verktøy for Arduino."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3549
msgid "<ulink url=\"http://blog.arduino.cc/2013/07/10/send-in-the-clones/\"/>"
msgstr "<ulink url=\"http://blog.arduino.cc/2013/07/10/send-in-the-clones/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3537
#, fuzzy
#| msgid ""
#| "David encourages people and businesses to start by sharing everything as "
#| "a default strategy, and then think about whether there is anything that "
#| "really needs to be protected and why. There are lots of good reasons to "
#| "not open up certain elements. This strategy of sharing everything is "
#| "certainly the complete opposite of how today’s world operates, where "
#| "nothing is shared. Tom suggests a business formalize which elements are "
#| "based on open sharing and which are closed. An Arduino blog post from "
#| "2013 entitled “Send In the Clones,” by one of the founders Massimo Banzi, "
#| "does a great job of explaining the full complexities of how trademarking "
#| "their brand has played out, distinguishing between official boards and "
#| "those that are clones, derivatives, compatibles, and counterfeits."
#| "<placeholder type=\"footnote\" id=\"0\"/>"
msgid ""
"David encourages people and businesses to start by sharing everything as a "
"default strategy, and then think about whether there is anything that really "
"needs to be protected and why. There are lots of good reasons to not open up "
"certain elements. This strategy of sharing everything is certainly the "
"complete opposite of how today’s world operates, where nothing is shared. "
"Tom suggests a business formalize which elements are based on open sharing "
"and which are closed. An Arduino blog post from 2013 entitled <quote>Send In "
"the Clones,</quote> by one of the founders Massimo Banzi, does a great job "
"of explaining the full complexities of how trademarking their brand has "
"played out, distinguishing between official boards and those that are "
"clones, derivatives, compatibles, and counterfeits.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"David oppfordrer folk og bedrifter til å starte ved å dele alt som forvalgt "
"strategi, og deretter tenke på om det er noe som virkelig trenger "
"beskyttelse, og hvorfor. Det er mange gode grunner til å ikke åpne bestemte "
"elementer. Denne strategien for å dele alt, er den diametrale motsats til "
"hvordan dagens verden opererer, der ingenting er delt. Tom foreslår at en "
"bedrift formaliserer hvilke elementer som er basert på åpen deling, og "
"hvilke som er lukket. Et Arduino-blogginnlegg fra 2013, med tittelen "
"<quote>Send In the Clones</quote>, fra en av grunnleggerne Massimo Banzi, er "
"til stor hjelp for å forklare hele kompleksiteten i hvordan varemerkingen "
"deres ble rullet ut, ved å skille mellom offisielle kort og de som er "
"kloner, derivater, kompatible og forfalskninger.<placeholder type=\"footnote"
"\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3552
#, fuzzy
#| msgid ""
#| "For David, an exciting aspect of Arduino is the way lots of people can "
#| "use it to adapt technology in many different ways. Technology is always "
#| "making more things possible but doesn’t always focus on making it easy to "
#| "use and adapt. This is where Arduino steps in.  Arduino’s goal is “making "
#| "things that help other people make things.”"
msgid ""
"For David, an exciting aspect of Arduino is the way lots of people can use "
"it to adapt technology in many different ways. Technology is always making "
"more things possible but doesn’t always focus on making it easy to use and "
"adapt. This is where Arduino steps in.  Arduino’s goal is <quote>making "
"things that help other people make things.</quote>"
msgstr ""
"For David er en spennende del av Arduino hvordan bruken muliggjør tilpasning "
"av teknologi på mange forskjellige måter for så mange. Teknologi åpner "
"alltid flere muligheter, men ikke alltid med fokus på dens enkelhet i bruk "
"og tilpasningsdyktighet. Det er der Arduino trår til. Arduinos mål er "
"<quote>å lage ting som hjelper andre mennesker å lage ting</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3560
#, fuzzy
#| msgid ""
#| "Arduino has been hugely successful in making technology and electronics "
#| "reach a larger audience. For Tom, Arduino has been about “the "
#| "democratization of technology.” Tom sees Arduino’s open-source strategy "
#| "as helping the world get over the idea that technology has to be "
#| "protected. Tom says, “Technology is a literacy everyone should learn.”"
msgid ""
"Arduino has been hugely successful in making technology and electronics "
"reach a larger audience. For Tom, Arduino has been about <quote>the "
"democratization of technology.</quote> Tom sees Arduino’s open-source "
"strategy as helping the world get over the idea that technology has to be "
"protected. Tom says, <quote>Technology is a literacy everyone should learn.</"
"quote>"
msgstr ""
"Arduino har vært svært vellykket med å få teknologi og elektronikk ut til et "
"større publikum. For Tom har Arduino handlet om <quote>demokratisering av "
"teknologi</quote>. Tom ser Arduinos fri programvarestrategi som å hjelpe "
"verden å komme over tanken at teknologien må ha beskyttelse. Tom sier, "
"<quote>Teknologi er en ferdighet som alle burde lære</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3568
msgid ""
"Ultimately, for Arduino, going open has been good business—good for product "
"development, good for distribution, good for pricing, and good for "
"manufacturing."
msgstr ""
"Til slutt, for Arduino, å bli åpne har vært bra for forretningen – bra for "
"produktutvikling, bra for distribusjon, bra for prising og bra for "
"produksjon."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3574
msgid "Ártica"
msgstr "Ártica"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3577
msgid ""
"Ártica provides online courses and consulting services focused on how to use "
"digital technology to share knowledge and enable collaboration in arts and "
"culture. Founded in 2011 in Uruguay."
msgstr ""
"Ártica gir kurs på nettet og konsulenttjenester fokusert på hvordan du "
"bruker digital teknologi til å dele kunnskap og muliggjøre samarbeid i kunst "
"og kultur. Grunnlagt i 2011 i Uruguay."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3582
msgid "<ulink url=\"http://www.articaonline.com\"/>"
msgstr "<ulink url=\"http://www.articaonline.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3584
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for tilpassede "
"tjenester"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3587
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 9, 2016"
msgstr "<emphasis role=\"strong\">Dato for intervju</emphasis>: 9. mars 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3589
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Mariana Fossatti and "
"Jorge Gemetto, cofounders"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Mariana Fossatti og Jorge "
"Gemetto, medgrunnleggere"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3593
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3784
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3980
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4406
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5785
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7238
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8022
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8550
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8772
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9243
msgid "Profile written by Sarah Hinchliff Pearson"
msgstr "Profilen skrevet av Sarah Hinchliff Pearson"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3597
msgid ""
"The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the "
"ultimate example of DIY. Not only are they successful entrepreneurs, the "
"niche in which their small business operates is essentially one they built "
"themselves."
msgstr ""
"Historien om Mariana Fossattis og Jorge Gemettos virksomhet, Ártica, er det "
"beste eksempelet på Gjør det selv (DIY: Do it yourself). Ikke bare er de "
"vellykkede gründere, nisjen deres lille virksomhet opererer i, er i hovedsak "
"en de har bygget selv."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3603
msgid "Their dream jobs didn’t exist, so they created them."
msgstr "Drømmejobbene deres eksisterer ikke, så de laget dem."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3606
msgid ""
"In 2011, Mariana was a sociologist working for an international organization "
"to develop research and online education about rural-development issues. "
"Jorge was a psychologist, also working in online education. Both were "
"bloggers and heavy users of social media, and both had a passion for arts "
"and culture. They decided to take their skills in digital technology and "
"online learning and apply them to a topic area they loved. They launched "
"Ártica, an online business that provides education and consulting for people "
"and institutions creating artistic and cultural projects on the Internet."
msgstr ""
"I 2011 var Mariana en sosiolog som arbeider for en internasjonal "
"organisasjon med å utvikle forskning og utdanning på nettet om "
"jordbruksutviklingsoppgaver. Jorge var psykolog, som også arbeidet med "
"utdanning på nett. Begge var bloggere og tunge brukere av sosiale medier, og "
"begge hadde en lidenskap for kunst og kultur. Med sine ferdigheter i digital "
"teknologi og nettlæring besluttet de å bruke dem på et område de likte. De "
"lanserte Ártica, en bedrift som gir opplæring og rådgivning for folk og "
"institusjoner som utvikler kunstneriske og kulturelle prosjekter på "
"Internettet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3618
msgid ""
"Ártica feels like a uniquely twenty-first century business. The small "
"company has a global online presence with no physical offices. Jorge and "
"Mariana live in Uruguay, and the other two full-time employees, who Jorge "
"and Mariana have never actually met in person, live in Spain. They started "
"by creating a MOOC (massive open online course) about remix culture and "
"collaboration in the arts, which gave them a direct way to reach an "
"international audience, attracting students from across Latin America and "
"Spain.  In other words, it is the classic Internet story of being able to "
"directly tap into an audience without relying upon gatekeepers or "
"intermediaries."
msgstr ""
"Ártica føles som en unik virksomhet i det tjueførste århundre. Det lille "
"selskapet har en global tilstedeværelse på Internett uten fysiske kontorer. "
"Jorge og Mariana bor i Uruguay, og de andre to fulltids ansatte, som Jorge "
"og Mariana aldri har møtt personlig, bor i Spania. De startet ved å opprette "
"en MOOC (et fleksibelt nettkurs, gratis og tilgjengelig for alle) om remiks-"
"kultur og samarbeid innen kunsten, som ga dem en direkte vei til et "
"internasjonalt publikum, og tiltrekke seg studenter fra hele Latin-Amerika "
"og Spania. Med andre ord, det er den klassiske Internett-historien om å "
"kunne koble seg direkte til publikum uten å være avhengig av portvoktere "
"eller mellommenn."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3631
#, fuzzy
#| msgid ""
#| "Ártica offers personalized education and consulting services, and helps "
#| "clients implement projects. All of these services are customized. They "
#| "call it an “artisan” process because of the time and effort it takes to "
#| "adapt their work for the particular needs of students and clients. “Each "
#| "student or client is paying for a specific solution to his or her "
#| "problems and questions,” Mariana said. Rather than sell access to their "
#| "content, they provide it for free and charge for the personalized "
#| "services."
msgid ""
"Ártica offers personalized education and consulting services, and helps "
"clients implement projects. All of these services are customized. They call "
"it an <quote>artisan</quote> process because of the time and effort it takes "
"to adapt their work for the particular needs of students and clients. "
"<quote>Each student or client is paying for a specific solution to his or "
"her problems and questions,</quote> Mariana said. Rather than sell access to "
"their content, they provide it for free and charge for the personalized "
"services."
msgstr ""
"Ártica tilbyr tilpasset utdanning og konsulenttjenester, og hjelper kundene "
"å gjennomføre prosjekter. Alle disse tjenestene er tilpasset. De kaller det "
"en <quote>artisan</quote> prosess på grunn av den tid og krefter det tar for "
"å tilpasse sitt arbeid til de spesielle behovene til studenter og kunder. "
"<quote>Hver student eller kunde betaler for en bestemt løsning på hans eller "
"hennes problemer og spørsmål</quote>, sier Mariana. I stedet for å selge "
"tilgang til innholdet sitt, gir de det gratis, og tar betalt for "
"tilpasningstjenestene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3642
#, fuzzy
#| msgid ""
#| "When they started, they offered a smaller number of courses designed to "
#| "attract large audiences. “Over the years, we realized that online "
#| "communities are more specific than we thought,” Mariana said. Ártica now "
#| "provides more options for classes and has lower enrollment in each "
#| "course. This means they can provide more attention to individual students "
#| "and offer classes on more specialized topics."
msgid ""
"When they started, they offered a smaller number of courses designed to "
"attract large audiences. <quote>Over the years, we realized that online "
"communities are more specific than we thought,</quote> Mariana said. Ártica "
"now provides more options for classes and has lower enrollment in each "
"course. This means they can provide more attention to individual students "
"and offer classes on more specialized topics."
msgstr ""
"Da de begynte, tilbød de et mindre antall kurs laget for å tiltrekke seg "
"store målgrupper. <quote>Gjennom årene har vi innsett at nettsamfunn er mer "
"spesifikke enn vi trodde</quote>, sa Mariana. Ártica leverer nå flere "
"alternative klasser, og har færre påmeldinger på hvert kurs. Dette betyr at "
"de kan gi hver enkelte elev mer oppmerksomhet, og tilby kurs på mer "
"spesialiserte emner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3651
msgid ""
"Online courses are their biggest revenue stream, but they also do more than "
"a dozen consulting projects each year, ranging from digitization to event "
"planning to marketing campaigns. Some are significant in scope, particularly "
"when they work with cultural institutions, and some are smaller projects "
"commissioned by individual artists."
msgstr ""
"Kurs på nettet er deres største inntektskilde, men de har også mer enn et "
"dusin konsulentprosjekter hvert år, alt fra digitalisering til "
"arrangementsplanlegging og markedsføringskampanjer.  Noen av dem har en viss "
"størrelse, spesielt når de jobber med kulturinstitusjoner, mens andre er "
"mindre prosjekter på oppdrag fra enkeltartister."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3659
msgid ""
"Ártica also seeks out public and private funding for specific projects. "
"Sometimes, even if they are unsuccessful in subsidizing a project like a new "
"course or e-book, they will go ahead because they believe in it. They take "
"the stance that every new project leads them to something new, every new "
"resource they create opens new doors."
msgstr ""
"Ártica søker også etter offentlig og privat finansiering til bestemte "
"prosjekter. Noen ganger, selv om de ikke lykkes i å få støtte til et "
"prosjekt som et nytt kurs eller en nettbok, går de videre fordi de tror på "
"det.  De har det standpunktet at hvert nytt prosjekt fører dem til noe nytt, "
"hver ny ressurs de lager åpner nye dører."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3667
#, fuzzy
#| msgid ""
#| "Ártica relies heavily on their free Creative Commons–licensed content to "
#| "attract new students and clients. Everything they create—online "
#| "education, blog posts, videos—is published under an Attribution-"
#| "ShareAlike license (CC BY-SA). “We use a ShareAlike license because we "
#| "want to give the greatest freedom to our students and readers, and we "
#| "also want that freedom to be viral,” Jorge said. For them, giving others "
#| "the right to reuse and remix their content is a fundamental value. “How "
#| "can you offer an online educational service without giving permission to "
#| "download, make and keep copies, or print the educational resources?” "
#| "Jorge said.  “If we want to do the best for our students—those who trust "
#| "in us to the point that they are willing to pay online without face-to-"
#| "face contact—we have to offer them a fair and ethical agreement.”"
msgid ""
"Ártica relies heavily on their free Creative Commons–licensed content to "
"attract new students and clients. Everything they create—online education, "
"blog posts, videos—is published under an Attribution-ShareAlike license (CC "
"BY-SA). <quote>We use a ShareAlike license because we want to give the "
"greatest freedom to our students and readers, and we also want that freedom "
"to be viral,</quote> Jorge said. For them, giving others the right to reuse "
"and remix their content is a fundamental value. <quote>How can you offer an "
"online educational service without giving permission to download, make and "
"keep copies, or print the educational resources?</quote> Jorge said. "
"<quote>If we want to do the best for our students—those who trust in us to "
"the point that they are willing to pay online without face-to-face contact—"
"we have to offer them a fair and ethical agreement.</quote>"
msgstr ""
"Ártica lener seg tungt på at deres gratis Creative Commons-lisensierte "
"innhold vil trekke til seg nye studenter og kunder. Alt de lager, nettbasert "
"utdanning, blogg-innlegg, videoer, utgis med en Attribution-ShareAlike-"
"lisens (CC BY-SA). <quote>Vi bruker en ShareAlike-lisens fordi vi vil gi "
"størst mulig frihet til våre studenter og lesere, og vi ønsker også at "
"friheten skal være viral</quote>, sa Jorge. For dem er å gi andre rett til å "
"gjenbruke og remikse innholdet en grunnleggende verdi. <quote>Hvordan kan du "
"tilby en nettbasert pedagogisk tjeneste uten å gi tillatelse til å laste "
"ned, lage og beholde kopier, eller skrive ut de pedagogiske ressursene?</"
"quote> Jorge sier: <quote>Hvis vi ønsker å gjøre det best for våre "
"studenter  - de som stoler på oss til det punktet at de er villige til å "
"betale på nettet uten ansikt til ansikt kontakt - har vi bare å tilby dem en "
"hederlig og etisk avtale</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3683
msgid ""
"They also believe sharing their ideas and expertise openly helps them build "
"their reputation and visibility. People often share and cite their work. A "
"few years ago, a publisher even picked up one of their e-books and "
"distributed printed copies. Ártica views reuse of their work as a way to "
"open up new opportunities for their business."
msgstr ""
"De tror også at å dele sine ideer og sin ekspertise åpent hjelper dem å "
"bygge omdømmet og synligheten sin. Folk  deler og siterer deres arbeid ofte. "
"For noen år siden plukket en utgiver selv opp en av nettbøkene deres, og "
"distribuerte trykte kopier. Ártica ser gjenbruk av arbeidet deres som en vei "
"til å åpne opp nye muligheter for sin virksomhet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3691
#, fuzzy
#| msgid ""
#| "This belief that openness creates new opportunities reflects another "
#| "belief—in serendipity. When describing their process for creating "
#| "content, they spoke of all of the spontaneous and organic ways they find "
#| "inspiration. “Sometimes, the collaborative process starts with a "
#| "conversation between us, or with friends from other projects,” Jorge "
#| "said. “That can be the first step for a new blog post or another simple "
#| "piece of content, which can evolve to a more complex product in the "
#| "future, like a course or a book.”"
msgid ""
"This belief that openness creates new opportunities reflects another belief—"
"in serendipity. When describing their process for creating content, they "
"spoke of all of the spontaneous and organic ways they find inspiration. "
"<quote>Sometimes, the collaborative process starts with a conversation "
"between us, or with friends from other projects,</quote> Jorge said. "
"<quote>That can be the first step for a new blog post or another simple "
"piece of content, which can evolve to a more complex product in the future, "
"like a course or a book.</quote>"
msgstr ""
"Troen på at åpenhet skaper nye muligheter, reflekterer en annen tro, til alt "
"hell. Når de beskriver sin prosess når de lager innhold, snakker de om alle "
"de spontane og organiske måtene de finne inspirasjon på. <quote>Noen ganger "
"starter samarbeidsprosessen med en samtale mellom oss, eller med venner fra "
"andre prosjekter</quote>, sa Jorge. <quote>Det kan være det første skrittet "
"til et nytt blogginnlegg, eller et nytt enkelt innhold, som  i fremtiden kan "
"utvikle seg til et mer sammensatt produkt, som et kurs eller en bok</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3702
#, fuzzy
#| msgid ""
#| "Rather than planning their work in advance, they let their creative "
#| "process be dynamic. “This doesn’t mean that we don’t need to work hard in "
#| "order to get good professional results, but the design process is more "
#| "flexible,” Jorge said. They share early and often, and they adjust based "
#| "on what they learn, always exploring and testing new ideas and ways of "
#| "operating. In many ways, for them, the process is just as important as "
#| "the final product."
msgid ""
"Rather than planning their work in advance, they let their creative process "
"be dynamic. <quote>This doesn’t mean that we don’t need to work hard in "
"order to get good professional results, but the design process is more "
"flexible,</quote> Jorge said. They share early and often, and they adjust "
"based on what they learn, always exploring and testing new ideas and ways of "
"operating. In many ways, for them, the process is just as important as the "
"final product."
msgstr ""
"Heller enn å planlegging arbeidet sitt på forhånd, lar de deres kreative "
"prosess være dynamisk. <quote>Dette betyr ikke at vi ikke trenger å jobbe "
"hardt for å få gode profesjonelle resultater, men utformingsprosessen er mer "
"fleksibel</quote>, sa Jorge. De deler tidlig og ofte, og de justerer ut fra "
"det de lærer, og utforsker og tester alltid nye ideer og måter å arbeide på. "
"På mange måter er prosessen for dem like viktig som sluttproduktet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3712
#, fuzzy
#| msgid ""
#| "People and relationships are also just as important, sometimes more. “In "
#| "the educational and cultural business, it is more important to pay "
#| "attention to people and process, rather than content or specific formats "
#| "or materials,” Mariana said.  “Materials and content are fluid. The "
#| "important thing is the relationships.”"
msgid ""
"People and relationships are also just as important, sometimes more. "
"<quote>In the educational and cultural business, it is more important to pay "
"attention to people and process, rather than content or specific formats or "
"materials,</quote> Mariana said.  <quote>Materials and content are fluid. "
"The important thing is the relationships.</quote>"
msgstr ""
"Folk og relasjoner er også like viktige, noen ganger mer. <quote>I den "
"pedagogiske og kulturelle virksomheten, er det viktigere å ta hensyn til "
"folk og prosesser, snarere enn innhold eller spesielle formater eller "
"materialer</quote>, sa Mariana. <quote>Materialer og innhold er flytende. "
"Den viktige tingen er relasjonene</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3720
msgid ""
"Ártica believes in the power of the network. They seek to make connections "
"with people and institutions across the globe so they can learn from them "
"and share their knowledge."
msgstr ""
"Ártica tror på kraften i nettverket. De søker å lage forbindelser mellom "
"mennesker og institusjoner over hele verden, så de kan lære av dem og dele "
"sine kunnskaper."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3725
#, fuzzy
#| msgid ""
#| "At the core of everything Ártica does is a set of values. “Good content "
#| "is not enough,” Jorge said. “We also think that it is very important to "
#| "take a stand for some things in the cultural sector.” Mariana and Jorge "
#| "are activists. They defend free culture (the movement promoting the "
#| "freedom to modify and distribute creative work) and work to demonstrate "
#| "the intersection between free culture and other social-justice movements. "
#| "Their efforts to involve people in their work and enable artists and "
#| "cultural institutions to better use technology are all tied closely to "
#| "their belief system. Ultimately, what drives their work is a mission to "
#| "democratize art and culture."
msgid ""
"At the core of everything Ártica does is a set of values.  <quote>Good "
"content is not enough,</quote> Jorge said. <quote>We also think that it is "
"very important to take a stand for some things in the cultural sector.</"
"quote> Mariana and Jorge are activists. They defend free culture (the "
"movement promoting the freedom to modify and distribute creative work) and "
"work to demonstrate the intersection between free culture and other social-"
"justice movements. Their efforts to involve people in their work and enable "
"artists and cultural institutions to better use technology are all tied "
"closely to their belief system.  Ultimately, what drives their work is a "
"mission to democratize art and culture."
msgstr ""
"Kjernen i alt Ártica gjør er et sett verdier. <quote>Godt innhold ikke er "
"nok</quote>, sa Jorge. <quote>Vi tror også at det er svært viktig å ta et "
"standpunkt for noe i kultursektoren</quote>. Mariana og Jorge er aktivister. "
"De forsvarer fri kultur (bevegelsen som fremmer frihet til å endre og "
"distribuere kreativt arbeid), og arbeider for å vise skjæringspunktet mellom "
"fri kultur og andre  bevegelser for sosial rettferdighet. Innsatsen deres "
"for å involvere mennesker i sitt arbeid, og aktivere kunstnere og "
"kulturinstitusjoner til å bedre bruken av teknologi, er tett knyttet til "
"deres holdninger. Til syvende og sist, det som driver deres arbeid er målet "
"om å demokratisere kunst og kultur."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3739
msgid ""
"Of course, Ártica also has to make enough money to cover its expenses. Human "
"resources are, by far, their biggest expense. They tap a network of "
"collaborators on a case-by-case basis and hire contractors for specific "
"projects. Whenever possible, they draw from artistic and cultural resources "
"in the commons, and they rely on free software. Their operation is small, "
"efficient, and sustainable, and because of that, it is a success."
msgstr ""
"Ártica må selvfølgelig også tjene nok penger til å dekke sine utgifter.  I "
"stor grad er menneskelige ressurser den største utgiftsposten. De trekker "
"veksler på samarbeidspartnere fra sak til sak, og leier inn oppdragstakere "
"til bestemte prosjekter. Når det er mulig, trekker de veksler på "
"kunstneriske og kulturelle ressurser i fellesskapet, og de stoler på fri "
"programvare. Virksomheten deres er liten, effektiv og bærekraftig, og derfor "
"er den en suksess."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3747
#, fuzzy
#| msgid ""
#| "“There are lots of people offering online courses,” Jorge said.  “But it "
#| "is easy to differentiate us. We have an approach that is very specific "
#| "and personal.” Ártica’s model is rooted in the personal at every level. "
#| "For Mariana and Jorge, success means doing what brings them personal "
#| "meaning and purpose, and doing it sustainably and collaboratively."
msgid ""
"<quote>There are lots of people offering online courses,</quote> Jorge said. "
"<quote>But it is easy to differentiate us. We have an approach that is very "
"specific and personal.</quote> Ártica’s model is rooted in the personal at "
"every level. For Mariana and Jorge, success means doing what brings them "
"personal meaning and purpose, and doing it sustainably and collaboratively."
msgstr ""
"<quote>Det er mange mennesker som tilbyr kurs på nettet</quote>, sa Jorge. "
"<quote>Men det er lett å skille oss ut. Vi har en tilnærming som er veldig "
"spesifikk og personlig</quote>. Árticas modell er forankret i det personlige "
"på alle nivåer. For Mariana og Jorge betyr suksess å gjøre det som gir dem "
"personlig mening og hensikt, og gjøre det bærekraftig og i samarbeid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3755
#, fuzzy
#| msgid ""
#| "In their work with younger artists, Mariana and Jorge try to emphasize "
#| "that this model of success is just as valuable as the picture of success "
#| "we get from the media. “If they seek only the traditional type of "
#| "success, they will get frustrated,” Mariana said. “We try to show them "
#| "another image of what it looks like.”"
msgid ""
"In their work with younger artists, Mariana and Jorge try to emphasize that "
"this model of success is just as valuable as the picture of success we get "
"from the media. <quote>If they seek only the traditional type of success, "
"they will get frustrated,</quote> Mariana said. <quote>We try to show them "
"another image of what it looks like.</quote>"
msgstr ""
"I sitt arbeid med yngre artister prøver Mariana og Jorge å understreke at "
"denne modellen for suksess er like verdifull som det bildet av suksess vi "
"får i media. <quote>Hvis de bare søker etter den tradisjonell typen suksess, "
"vil de bli frustrert</quote>, sa Mariana. <quote>Vi prøver å vise dem et "
"annet bilde av hvordan det ser ut</quote>."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3764
msgid "Blender Institute"
msgstr "Blender-instituttet"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3767
msgid ""
"The Blender Institute is an animation studio that creates 3-D films using "
"Blender software. Founded in 2006 in the Netherlands."
msgstr ""
"Blender Institute er et animasjonsstudio som lager 3D-filmer med Blender "
"programvare. Grunnlagt i 2006 i Nederland."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3772
msgid "<ulink url=\"http://www.blender.org\"/>"
msgstr "<ulink url=\"http://www.blender.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3774
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
"(subscription-based), charging for physical copies, selling merchandise"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Folkefinansiering "
"(abonnementsbasert), betaling for fysiske kopier, varesalg"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3778
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 8, 2016"
msgstr "<emphasis role=\"strong\">Dato for intervju</emphasis>: 8. mars 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3780
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Francesco Siddi, "
"production coordinator"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Francesco Siddi, "
"produksjonsleder"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3788
msgid ""
"For Ton Roosendaal, the creator of Blender software and its related "
"entities, sharing is practical. Making their 3-D content creation software "
"available under a free software license has been integral to its development "
"and popularity. Using that software to make movies that were licensed with "
"Creative Commons pushed that development even further. Sharing enables "
"people to participate and to interact with and build upon the technology and "
"content they create in a way that benefits Blender and its community in "
"concrete ways."
msgstr ""
"For Ton Roosendaal, som skapte Blender programvare og de tilknyttede "
"enhetene, er deling praktisk. Å gjøre deres programvare for å lage 3D-"
"innhold tilgjengelig under fri programvarelisens har vært integrerende for "
"programmets utvikling og popularitet. Å bruke programvaren til å lage filmer "
"lisensiert med Creative Commons, skjøv denne utviklingen ytterligere "
"fremover. Deling gjør det mulig for folk å delta og samhandle med, og å "
"bygge videre på, den teknologien og innholdet de lager på en måte som er til "
"fordel for Blender og Blenders fellesskap helt konkret."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3799
msgid ""
"Each open-movie project Blender runs produces a host of openly licensed "
"outputs, not just the final film itself but all of the source material as "
"well. The creative process also enhances the development of the Blender "
"software because the technical team responds directly to the needs of the "
"film production team, creating tools and features that make their lives "
"easier. And, of course, each project involves a long, rewarding process for "
"the creative and technical community working together."
msgstr ""
"Hvert åpen-filmprosjekt Blender kjører, produserer en rekke åpne lisensierte "
"resultater, ikke bare den endelige filmen selv, men alt kildematerialet "
"også. Den kreative prosessen forbedrer også utviklingen av Blenders "
"programvare fordi det tekniske teamet responderer direkte på  behovene "
"filmens produksjonsteam har, ved å lage verktøy og funksjoner som gjør livet "
"deres enklere. Og, selvfølgelig, hvert prosjekt innebærer en lang, givende "
"prosess der det kreative og tekniske fellesskapet arbeider sammen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3809
msgid ""
"Rather than just talking about the theoretical benefits of sharing and free "
"culture, Ton is very much about doing and making free culture. Blender’s "
"production coordinator Francesco Siddi told us, <quote>Ton believes if you "
"don’t make content using your tools, then you’re not doing anything.</quote>"
msgstr ""
"Heller enn bare å snakke om de teoretiske fordelene ved deling og fri "
"kultur, er Ton veldig for å få til og lage fri kultur. Blenders "
"produksjonsleder Francesco Siddi fortalte oss at, <quote>Ton tror hvis du "
"ikke ikke lager innhold med dine egne verktøy, så gjør du ikke storverk.</"
"quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3816
msgid ""
"Blender’s history begins in the late 1990s, when Ton created the Blender "
"software. Originally, the software was an in-house resource for his "
"animation studio based in the Netherlands.  Investors became interested in "
"the software, so he began marketing the software to the public, offering a "
"free version in addition to a paid version. Sales were disappointing, and "
"his investors gave up on the endeavor in the early 2000s. He made a deal "
"with investors—if he could raise enough money, he could then make the "
"Blender software available under the GNU General Public License."
msgstr ""
"Blenders historie begynner i 1990, da Ton opprettet programvaren Blender. "
"Opprinnelig var programvaren en intern ressurs for hans animasjonsstudio i "
"Nederland. Investorer ble interessert i programvaren, så han begynte å "
"markedsføre programvaren til publikum, og tilbød en gratis versjon i tillegg "
"til en betalt versjon. Salget var skuffende, og hans investorer ga opp "
"forsøket tidlig på 2000-tallet. Han gjorde en avtale med investorer – hvis "
"han kunne skaffe nok penger, kunne han så gjøre Blender-programvaren "
"tilgjengelig under GNU General Public License."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3827
#, fuzzy
#| msgid ""
#| "This was long before Kickstarter and other online crowdfunding sites "
#| "existed, but Ton ran his own version of a crowdfunding campaign and "
#| "quickly raised the money he needed. The Blender software became freely "
#| "available for anyone to use. Simply applying the General Public License "
#| "to the software, however, was not enough to create a thriving community "
#| "around it. Francesco told us, “Software of this complexity relies on "
#| "people and their vision of how people work together. Ton is a fantastic "
#| "community builder and manager, and he put a lot of work into fostering a "
#| "community of developers so that the project could live.”"
msgid ""
"This was long before Kickstarter and other online crowdfunding sites "
"existed, but Ton ran his own version of a crowdfunding campaign and quickly "
"raised the money he needed. The Blender software became freely available for "
"anyone to use. Simply applying the General Public License to the software, "
"however, was not enough to create a thriving community around it. Francesco "
"told us, <quote>Software of this complexity relies on people and their "
"vision of how people work together. Ton is a fantastic community builder and "
"manager, and he put a lot of work into fostering a community of developers "
"so that the project could live.</quote>"
msgstr ""
"Dette var lenge før Kickstarter og andre nettsteder for folkefinansiering "
"eksisterte, men Ton kjørte sin egen versjon av en folkefinansiering, og "
"skaffet raskt pengene han trengte. Blender-programvaren ble fritt "
"tilgjengelig å bruke for alle. Men bare å bruke General Public License til "
"programvaren, var ikke nok til å få til et blomstrende fellesskap rundt den. "
"Francesco fortalte oss: <quote>Programvare med denne kompleksiteten er "
"avhengig av mennesker og deres visjon om hvordan folk arbeider sammen. Ton "
"er en fantastisk felleskapsbygger og leder, og han har lagt ned mye arbeid i "
"å fremme et fellesskap av utviklere slik at prosjektet kunne leve</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3840
#, fuzzy
#| msgid ""
#| "Like any successful free and open-source software project, Blender "
#| "developed quickly because the community could make fixes and "
#| "improvements. “Software should be free and open to hack,” Francesco said. "
#| "“Otherwise, everyone is doing the same thing in the dark for ten years.” "
#| "Ton set up the Blender Foundation to oversee and steward the software "
#| "development and maintenance."
msgid ""
"Like any successful free and open-source software project, Blender developed "
"quickly because the community could make fixes and improvements. "
"<quote>Software should be free and open to hack,</quote> Francesco said. "
"<quote>Otherwise, everyone is doing the same thing in the dark for ten years."
"</quote> Ton set up the Blender Foundation to oversee and steward the "
"software development and maintenance."
msgstr ""
"Som ethvert vellykket fri programvareprosjekt utviklet Blender seg raskt "
"fordi fellesskapet kunne gjøre feilrettinger og forbedringer. "
"<quote>Programvare bør være fritt og mulig å endre</quote>, sa Francesco. "
"<quote>Ellers gjør alle det samme i skjul i ti år</quote>. Ton satt opp "
"Blender Foundation til å overvåke og forvalte programvareutviklingen og "
"vedlikeholdet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3849
msgid ""
"After a few years, Ton began looking for new ways to push development of the "
"software. He came up with the idea of creating CC-licensed films using the "
"Blender software. Ton put a call online for all interested and skilled "
"artists. Francesco said the idea was to get the best artists available, put "
"them in a building together with the best developers, and have them work "
"together.  They would not only produce high-quality openly licensed content, "
"they would improve the Blender software in the process."
msgstr ""
"Etter noen år begynte Ton å lete etter nye måter å fremme utviklingen av "
"programvaren på. Han fikk ideen om å lage CC-lisensierte filmer med Blender-"
"programvare. Ton la ut en forespørsel på nettet til alle interesserte og "
"erfarne kunstnere. Francesco sa ideen var å få de beste artistene som var "
"tilgjengelig, sette dem i en bygning sammen med de beste utviklerne, og få "
"dem til å arbeide sammen. De skulle ikke bare lage åpent lisensiert innhold "
"av høy kvalitet, de skulle forbedre Blenders programvare i prosessen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3859
#, fuzzy
#| msgid ""
#| "They turned to crowdfunding to subsidize the costs of the project.  They "
#| "had about twenty people working full-time for six to ten months, so the "
#| "costs were significant. Francesco said that when their crowdfunding "
#| "campaign succeeded, people were astounded. “The idea that making money "
#| "was possible by producing CC-licensed material was mind-blowing to "
#| "people,” he said. “They were like, ‘I have to see it to believe it.’”"
msgid ""
"They turned to crowdfunding to subsidize the costs of the project.  They had "
"about twenty people working full-time for six to ten months, so the costs "
"were significant. Francesco said that when their crowdfunding campaign "
"succeeded, people were astounded.  <quote>The idea that making money was "
"possible by producing CC-licensed material was mind-blowing to people,</"
"quote> he said.  <quote>They were like, <quote>I have to see it to believe "
"it.</quote></quote>"
msgstr ""
"De gikk for folkefinansieringsmodellen for å subsidiere prosjektkostnadene. "
"Med tjue personer arbeidende på fulltid i seks til ti måneder, var "
"kostnadene betydelige. Francesco sa at folk ble forbløffet da "
"folkefinansieringskampanjen deres lyktes. <quote>Idéen om inntjening med CC-"
"lisensiert materiale var overveldende for folk</quote>, sa han. "
"<quote>Reaksjonen var at de måtte se det for å tro det.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3869
msgid ""
"The first film, which was released in 2006, was an experiment. It was so "
"successful that Ton decided to set up the Blender Institute, an entity "
"dedicated to hosting open-movie projects. The Blender Institute’s next "
"project was an even bigger success. The film, Big Buck Bunny, went viral, "
"and its animated characters were picked up by marketers."
msgstr ""
"Den første filmen, som ble utgitt i 2006, var et eksperiment. Det var så "
"vellykket at Ton besluttet å sette opp Blender Institute, en enhet øremerket "
"til å huse åpen-filmprosjekter. Blender Institute sitt neste prosjekt var en "
"enda større suksess. Filmen Big Buck Bunny gikk viralt, og de animerte "
"figurene ble plukket opp av markedsførere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3877
#, fuzzy
#| msgid ""
#| "Francesco said that, over time, the Blender Institute projects have "
#| "gotten bigger and more prominent. That means the filmmaking process has "
#| "become more complex, combining technical experts and artists who focus on "
#| "storytelling. Francesco says the process is almost on an industrial scale "
#| "because of the number of moving parts. This requires a lot of specialized "
#| "assistance, but the Blender Institute has no problem finding the talent "
#| "it needs to help on projects. “Blender hardly does any recruiting for "
#| "film projects because the talent emerges naturally,” Francesco said.  “So "
#| "many people want to work with us, and we can’t always hire them because "
#| "of budget constraints.”"
msgid ""
"Francesco said that, over time, the Blender Institute projects have gotten "
"bigger and more prominent. That means the filmmaking process has become more "
"complex, combining technical experts and artists who focus on storytelling. "
"Francesco says the process is almost on an industrial scale because of the "
"number of moving parts. This requires a lot of specialized assistance, but "
"the Blender Institute has no problem finding the talent it needs to help on "
"projects. <quote>Blender hardly does any recruiting for film projects "
"because the talent emerges naturally,</quote> Francesco said. <quote>So many "
"people want to work with us, and we can’t always hire them because of budget "
"constraints.</quote>"
msgstr ""
"Francesco sa at over tid har Blender Institute-prosjektene blitt større og "
"mer betydningsfulle. Det betyr at prosessen med å lage film har blitt mer "
"kompleks ved å kombinere tekniske eksperter og kunstnere som har fokus på "
"historiefortelling. Francesco sier prosessen er nesten på industriell skala "
"på grunn av antallet bevegelige deler. Dette krever mye spesialisert hjelp, "
"men Blender Institute har ingen problemer med å finne det talentet som "
"trengs for å bistå prosjekter. <quote>Blender gjør knapt noen rekruttering "
"til filmprosjekter fordi talentet dukker helt naturlig opp</quote>, sa "
"Francesco. <quote>Så mange mennesker ønsker å samarbeide med oss, at vi ikke "
"alltid kan ansette dem på grunn av budsjettbegrensninger</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3890
#, fuzzy
#| msgid ""
#| "Blender has had a lot of success raising money from its community over "
#| "the years. In many ways, the pitch has gotten easier to make.  Not only "
#| "is crowdfunding simply more familiar to the public, but people know and "
#| "trust Blender to deliver, and Ton has developed a reputation as an "
#| "effective community leader and visionary for their work. “There is a "
#| "whole community who sees and understands the benefit of these projects,” "
#| "Francesco said."
msgid ""
"Blender has had a lot of success raising money from its community over the "
"years. In many ways, the pitch has gotten easier to make.  Not only is "
"crowdfunding simply more familiar to the public, but people know and trust "
"Blender to deliver, and Ton has developed a reputation as an effective "
"community leader and visionary for their work. <quote>There is a whole "
"community who sees and understands the benefit of these projects,</quote> "
"Francesco said."
msgstr ""
"Blender har hatt stor suksess med å skaffe penger fra fellesskapet gjennom "
"årene. På mange måter har det blitt lettere å  bane vei. Ikke bare er "
"folkefinansiering blitt bedre kjent i offentligheten, men folk kjenner til, "
"og stoler på at Blender leverer, og Ton har opparbeidet et rykte som en "
"effektiv fellesskapsleder, og visjonær for arbeidet deres. <quote>Det er et "
"helt fellesskap som ser og forstår fordelen med disse prosjektene</quote>, "
"sa Francesco."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3899
#, fuzzy
#| msgid ""
#| "While these benefits of each open-movie project make a compelling pitch "
#| "for crowdfunding campaigns, Francesco told us the Blender Institute has "
#| "found some limitations in the standard crowdfunding model where you "
#| "propose a specific project and ask for funding.  “Once a project is over, "
#| "everyone goes home,” he said. “It is great fun, but then it ends. That is "
#| "a problem.”"
msgid ""
"While these benefits of each open-movie project make a compelling pitch for "
"crowdfunding campaigns, Francesco told us the Blender Institute has found "
"some limitations in the standard crowdfunding model where you propose a "
"specific project and ask for funding.  <quote>Once a project is over, "
"everyone goes home,</quote> he said. <quote>It is great fun, but then it "
"ends. That is a problem.</quote>"
msgstr ""
"Mens disse fordelene fra hvert åpen-filmprosjekt gir et overbevisende "
"grunnlag for folkefinansieringskampanjer, fortalte Francesco oss at Blender "
"Institute har funnet noen begrensninger i den standard "
"folkefinansieringsmodellen der man legger frem et bestemt prosjekt og ber om "
"finansiering. <quote>Når et prosjekt er over, drar alle hjem</quote>, sa "
"han. <quote>Det er mye moro, men så slutter det. Det er et problem</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3908
msgid ""
"To make their work more sustainable, they needed a way to receive ongoing "
"support rather than on a project-by-project basis. Their solution is Blender "
"Cloud, a subscription-style crowdfunding model akin to the online "
"crowdfunding platform, Patreon. For about ten euros each month, subscribers "
"get access to download everything the Blender Institute produces—software, "
"art, training, and more.  All of the assets are available under an "
"Attribution license (CC BY) or placed in the public domain (CC0), but they "
"are initially made available only to subscribers. Blender Cloud enables "
"subscribers to follow Blender’s movie projects as they develop, sharing "
"detailed information and content used in the creative process. Blender Cloud "
"also has extensive training materials and libraries of characters and other "
"assets used in various projects."
msgstr ""
"For å gjøre arbeidet mer bærekraftig trengte de en måte for å motta "
"kontinuerlig støtte, og ikke på prosjekt-for-prosjektbasis. Deres løsning er "
"Blender Sky, en abonnementstype folkefinansieringsmodell som likner den "
"nettbaserte folkfinansieringsplattformen Patreon. For ca. 10 euro hver måned "
"får abonnenter tilgang til å laste ned alt det Blender Institute produserer "
"– programvare, kunst, opplæring, og mer. Alle disse ressursene er "
"tilgjengelige med en Attribution-lisens (CC BY), eller plassert i den "
"offentlige sfæren (CC0), men de er opprinnelig gjort tilgjengelige kun for "
"abonnenter. Blender Cloud lar abonnentene følge Blenders filmprosjekter mens "
"de utvikles, og deler detaljert informasjon og innhold til bruk i den "
"kreative prosessen. Blender Cloud har også omfattende opplæringsmateriell, "
"biblioteker med rollemodeller og andre ressurser til bruk i ulike prosjekter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3923
#, fuzzy
#| msgid ""
#| "The continuous financial support provided by Blender Cloud subsidizes "
#| "five to six full-time employees at the Blender Institute. Francesco says "
#| "their goal is to grow their subscriber base. “This is our freedom,” he "
#| "told us, “and for artists, freedom is everything.”"
msgid ""
"The continuous financial support provided by Blender Cloud subsidizes five "
"to six full-time employees at the Blender Institute. Francesco says their "
"goal is to grow their subscriber base. <quote>This is our freedom,</quote> "
"he told us, <quote>and for artists, freedom is everything.</quote>"
msgstr ""
"Kontinuerlig økonomisk støtte fra Blender Cloud finansierer fem til seks "
"heltidsansatte ved Blender Institute. Francesco sier at deres mål er å "
"utvide sin abonnentbase. <quote>Dette er vår frihet</quote>, fortalte han "
"oss, <quote>og for kunstnere er  frihet alt</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3930
msgid ""
"Blender Cloud is the primary revenue stream of the Blender Institute. The "
"Blender Foundation is funded primarily by donations, and that money goes "
"toward software development and maintenance. The revenue streams of the "
"Institute and Foundation are deliberately kept separate. Blender also has "
"other revenue streams, such as the Blender Store, where people can purchase "
"DVDs, T-shirts, and other Blender products."
msgstr ""
"Blender Cloud er den primære inntektskilden for Blender Institute.  Blender "
"Fundation er finanisert hovedsakelig av donasjoner, og pengene går til "
"programvareutvikling og -vedlikehold. Inntektsstrømmene til Blender "
"Institute og Foundation er bevisst holdt separat. Blender har også andre "
"inntektsstrømmer, som Blender-butikken, hvor folk kan kjøpe DVD-er, T-"
"skjorter og andre Blender-produkter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3939
msgid ""
"Ton has worked on projects relating to his Blender software for nearly "
"twenty years. Throughout most of that time, he has been committed to making "
"the software and the content produced with the software free and open. "
"Selling a license has never been part of the business model."
msgstr ""
"Ton har jobbet med prosjekter knyttet til Blender-programvare i nesten tjue "
"år. Gjennom det meste av denne tiden, har han vært opptatt av å gjøre "
"programvaren og innholdet som er produsert med programvaren gratis og åpent. "
"Å selge en lisens har aldri vært en del av forretningsmodellen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3946
msgid ""
"Since 2006, he has been making films available along with all of their "
"source material. He says he has hardly ever seen people stepping into "
"Blender’s shoes and trying to make money off of their content. Ton believes "
"this is because the true value of what they do is in the creative and "
"production process. <quote>Even when you share everything, all your original "
"sources, it still takes a lot of talent, skills, time, and budget to "
"reproduce what you did,</quote> Ton said."
msgstr ""
"Helt siden 2006 har han gjort filmer tilgjengelig sammen med alt tilhørende "
"kildemateriale. Han sier han har knapt sett folk som har prøvd å fylle "
"fotsporene til Blenders sko og forsøkt å tjene penger på innholdet. Ton "
"mener dette er fordi den virkelige verdien av det de gjør, er i det kreative "
"og i produksjonsprosessen. <quote>Selv om du deler alt, alle din originale "
"kilder, kreves det mye talent, ferdigheter, tid og budsjett å gjenskape det "
"du gjorde</quote>, sa Ton."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3956
msgid "For Ton and Blender, it all comes back to doing."
msgstr "For Ton og Blender, går alt tilbake til hva du gjør."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3960
msgid "Cards Against Humanity"
msgstr "Cards Against Humanity"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3963
msgid ""
"Cards Against Humanity is a private, for-profit company that makes a popular "
"party game by the same name. Founded in 2011 in the U.S."
msgstr ""
"Cards Against Humanity er et privat, for-fortjeneste selskap som lager et "
"populært fest-spill ved samme navn. Grunnlagt i USA i 2011."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3968
msgid "<ulink url=\"http://www.cardsagainsthumanity.com\"/>"
msgstr "<ulink url=\"http://www.cardsagainsthumanity.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3970
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for fysiske "
"kopier"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3973
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 3, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 3. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3976
msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Max Temkin, cofounder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Max Temkin, medgrunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3984
msgid ""
"If you ask cofounder Max Temkin, there is nothing particularly interesting "
"about the Cards Against Humanity business model.  <quote>We make a product. "
"We sell it for money. Then we spend less money than we make,</quote> Max "
"said."
msgstr ""
"Hvis du spør medgrunnlegger Max Temkin, er det ikke noe spesielt interessant "
"med forretningsmodellen til Cards Against Humanity. <quote>Vi lager et "
"produkt. Vi selger det og tar betalt. Så bruker vi mindre penger enn vi "
"tjener</quote>, sa Max."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3990
msgid ""
"He is right. Cards Against Humanity is a simple party game, modeled after "
"the game Apples to Apples. To play, one player asks a question or fill-in-"
"the-blank statement from a black card, and the other players submit their "
"funniest white card in response.  The catch is that all of the cards are "
"filled with crude, gruesome, and otherwise awful things. For the right kind "
"of people (<quote>horrible people,</quote> according to Cards Against "
"Humanity advertising), this makes for a hilarious and fun game."
msgstr ""
"Han har rett. Cards Against Humanity er et enkelt fest-spill, tuftet på "
"spillet Apples to Apples. For å spille stiller en spiller et spørsmål, eller "
"en fyll-inn-feltet-påstand fra et svart kort, og de andre spillerne sender "
"sine morsomste hvite kort som svar. Haken er at alle kortene er fylt med "
"grove, grusomme og ellers forferdelig ting. For den rette typen mennesker "
"(<quote>fryktelige folk</quote>, ifølge Cards Against Humanitys reklame), "
"blir dette et artig og morsomt spill."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4000
msgid ""
"The revenue model is simple. Physical copies of the game are sold for a "
"profit. And it works. At the time of this writing, Cards Against Humanity is "
"the number-one best-selling item out of all toys and games on Amazon. There "
"are official expansion packs available, and several official themed packs "
"and international editions as well."
msgstr ""
"Inntektsmodellen er enkel. Fysiske kopier av spillet blir solgt med "
"fortjeneste, og det fungerer. Når dette blir skrevet, er Cards Against "
"Humanity det bestselgende produktet blant alle leker og spill hos Amazon. "
"Offisielle utvidelsespakker er tilgjengelig, og også flere offisielle "
"temapakker samt internasjonale utgaver."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4008
msgid ""
"But Cards Against Humanity is also available for free. Anyone can download a "
"digital version of the game on the Cards Against Humanity website. More than "
"one million people have downloaded the game since the company began tracking "
"the numbers."
msgstr ""
"Men Cards Against Humanity er også tilgjengelig gratis. Alle kan laste ned "
"en digital versjon av spillet fra nettsiden til Cards Against Humanity. Mer "
"enn én million mennesker har lastet ned spillet etter at selskapet begynte å "
"loggføre tallene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4014
msgid ""
"The game is available under an Attribution-NonCommercial-ShareAlike license "
"(CC BY-NC-SA). That means, in addition to copying the game, anyone can "
"create new versions of the game as long as they make it available under the "
"same noncommercial terms. The ability to adapt the game is like an entire "
"new game unto itself."
msgstr ""
"Spillet er tilgjengelig med en Attribution-NonCommercial-ShareAlike-lisens "
"(CC BY-NC-SA). Det betyr, i tillegg til å kopiere spillet, at alle kan lage "
"nye versjoner av spillet så lenge de gjør det tilgjengelig på de samme ikke-"
"kommersielle vilkårene. Muligheten til å tilpasse spillet, er som et helt "
"nytt spill i seg selv."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4022
#, fuzzy
#| msgid ""
#| "All together, these factors—the crass tone of the game and company, the "
#| "free download, the openness to fans remixing the game—give the game a "
#| "massive cult following."
msgid ""
"All together, these factors—the crass tone of the game and company, the free "
"download, the"
msgstr ""
"Til sammen gir disse faktorene – den krasse tonen i spillet og selskapet, "
"gratis nedlasting, åpenhet for fans til å remikse spillet – det som gir "
"spillet solid kultstatus."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4026
msgid "openness to fans remixing the game—give"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4029
msgid "the game a massive cult following."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4032
msgid ""
"Their success is not the result of a grand plan. Instead, Cards Against "
"Humanity was the last in a long line of games and comedy projects that Max "
"Temkin and his friends put together for their own amusement. As Max tells "
"the story, they made the game so they could play it themselves on New Year’s "
"Eve because they were too nerdy to be invited to other parties. The game was "
"a hit, so they decided to put it up online as a free PDF. People started "
"asking if they could pay to have the game printed for them, and eventually "
"they decided to run a Kickstarter to fund the printing.  They set their "
"Kickstarter goal at $4,000—and raised $15,000. The game was officially "
"released in May 2011."
msgstr ""
"Suksessen deres er ikke et resultat av en storstilt plan. Cards Against "
"Humanity var det siste i en lang rekke spill og komedieprosjekter Max Temkin "
"og vennene hans satte sammen for egen fornøyelse. Som Max forteller "
"historien, laget de spillet så de kunne spille det selv på nyttårsaften "
"fordi de var for nerdete til å bli invitert i andres selskap. Spillet ble en "
"hit, så de bestemte seg for å legge det ut på nettet som en gratis PDF. Folk "
"begynte å spørre om de kunne betale for å få spillet trykket for dem, og til "
"slutt bestemte de seg å kjøre en Kickstarter for å finansiere trykkingen. De "
"satt Kickstarter-målet til $4,000 – og fikk inn $15,000. Spillet ble utgitt "
"offisielt i mai 2011."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4045
msgid ""
"The game caught on quickly, and it has only grown more popular over time. "
"Max says the eight founders never had a meeting where they decided to make "
"it an ongoing business. <quote>It kind of just happened,</quote> he said."
msgstr ""
"Spillet fenget raskt, og populariteten har bare vokst med tiden. Max sier at "
"de åtte grunnleggerne aldri hadde et møte hvor de bestemte seg for å gjøre "
"dette til en kontinuerlig virksomhet. <quote>Det skjedde bare av seg selv</"
"quote>, sa han."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4051
#, fuzzy
#| msgid ""
#| "But this tale of a “happy accident” belies marketing genius. Just like "
#| "the game, the Cards Against Humanity brand is irreverent and memorable. "
#| "It is hard to forget a company that calls the FAQ on their website “Your "
#| "dumb questions.”"
msgid ""
"But this tale of a <quote>happy accident</quote> belies marketing genius. "
"Just like the game, the Cards Against Humanity brand is irreverent and "
"memorable. It is hard to forget a company that calls the FAQ on their "
"website <quote>Your dumb questions.</quote>"
msgstr ""
"Men denne fortellingen om en <quote>lykkelig tilfeldighet</quote> står i "
"motsetning til markedsføringbegavelsen. Akkurat som spillet, er Cards "
"Against Humanity sitt kjennemerke er distanse og minneverdighet.  Det er "
"vanskelig å glemme en virksomhet som kaller sine ofte besvarte spørsmål på "
"hjemmesiden sin <quote>Dine dumme spørsmål</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4057
#, fuzzy
#| msgid ""
#| "Like most quality satire, however, there is more to the joke than "
#| "vulgarity and shock value. The company’s marketing efforts around Black "
#| "Friday illustrate this particularly well. For those outside the United "
#| "States, Black Friday is the term for the day after the Thanksgiving "
#| "holiday, the biggest shopping day of the year. It is an incredibly "
#| "important day for Cards Against Humanity, like it is for all U.S. "
#| "retailers. Max said they struggled with what to do on Black Friday "
#| "because they didn’t want to support what he called the “orgy of "
#| "consumerism” the day has become, particularly since it follows a day that "
#| "is about being grateful for what you have.  In 2013, after deliberating, "
#| "they decided to have an Everything Costs $5 More sale."
msgid ""
"Like most quality satire, however, there is more to the joke than vulgarity "
"and shock value. The company’s marketing efforts around Black Friday "
"illustrate this particularly well. For those outside the United States, "
"Black Friday is the term for the day after the Thanksgiving holiday, the "
"biggest shopping day of the year. It is an incredibly important day for "
"Cards Against Humanity, like it is for all U.S. retailers. Max said they "
"struggled with what to do on Black Friday because they didn’t want to "
"support what he called the <quote>orgy of consumerism</quote> the day has "
"become, particularly since it follows a day that is about being grateful for "
"what you have. In 2013, after deliberating, they decided to have an "
"Everything Costs $5 More sale."
msgstr ""
"Som de fleste kvalitetssatirer består vitsen av mer enn vulgaritet og "
"sjokkeffekter. Selskapets markedsføring rundt Black Friday illustrerer dette "
"spesielt godt. For dem utenfor USA er Black Friday begrepet for dagen etter "
"Thanksgiving-helligdagen, den største handledagen i året. Det er en utrolig "
"viktig dag for Cards Against Humanity, slik den er det for alle forhandlere "
"i USA. Max sa at de strevde med hva de skulle gjøre med Black Friday fordi "
"de ikke ønsker å støtte det han kalte <quote>forbruksorgien</quote>,  som "
"dagen er blitt til, spesielt siden den følger etter en dag som handler om å "
"være takknemlig for hva du har. I 2013 besluttet de, etter rådslaging, å ha "
"et <quote>alt koster 5 dollar mer</quote>-salg."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4070
#, fuzzy
#| msgid ""
#| "“We sweated it out the night before Black Friday, wondering if our fans "
#| "were going to hate us for it,” he said. “But it made us laugh so we went "
#| "with it. People totally caught the joke.”"
msgid ""
"<quote>We sweated it out the night before Black Friday, wondering if our "
"fans were going to hate us for it,</quote> he said.  <quote>But it made us "
"laugh so we went with it. People totally caught the joke.</quote>"
msgstr ""
"<quote>Vi svettet natten før Black Friday, og lurte på om våre fans ville "
"hate oss</quote>, sa han. <quote>Men det fikk oss til å le, så vi gikk ut "
"med det. Og folk oppfattet helt klart spøken</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4076
#, fuzzy
#| msgid ""
#| "This sort of bold transparency delights the media, but more importantly, "
#| "it engages their fans. “One of the most surprising things you can do in "
#| "capitalism is just be honest with people,” Max said. “It shocks people "
#| "that there is transparency about what you are doing.”"
msgid ""
"This sort of bold transparency delights the media, but more importantly, it "
"engages their fans. <quote>One of the most surprising things you can do in "
"capitalism is just be honest with people,</quote> Max said. <quote>It shocks "
"people that there is transparency about what you are doing.</quote>"
msgstr ""
"Denne typen modig åpenhet gleder media, men enda viktigere, det engasjerer "
"fansen. <quote>En av de mest overraskende tingene du kan gjøre i "
"kapitalismen er bare å være ærlig med folk</quote>, sa Max. <quote>Det "
"sjokkerer folk at det er åpenhet om hva du gjør</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4083
msgid ""
"Max also likened it to a grand improv scene. <quote>If we do something a "
"little subversive and unexpected, the public wants to be a part of the joke."
"</quote> One year they did a Give Cards Against Humanity $5 event, where "
"people literally paid them five dollars for no reason. Their fans wanted to "
"make the joke funnier by making it successful. They made $70,000 in a single "
"day."
msgstr ""
"Max sammenlignet det også med en stor improvisasjonsscene. <quote>Hvis vi "
"gjør noe litt undergravende og uventet, ønsker publikum å være med på spøken."
"</quote> Ett år laget de spøken Gi Cards Against Humanity $5, hvor folk "
"bokstavelig talt betalte dem fem dollar uten grunn. Fansen ville gjøre "
"spøken morsommere ved å gjøre den vellykket. De fikk inn $70,000 på én dag."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4091
#, fuzzy
#| msgid ""
#| "This remarkable trust they have in their customers is what inspired their "
#| "decision to apply a Creative Commons license to the game. Trusting your "
#| "customers to reuse and remix your work requires a leap of faith. Cards "
#| "Against Humanity obviously isn’t afraid of doing the unexpected, but "
#| "there are lines even they do not want to cross. Before applying the "
#| "license, Max said they worried that some fans would adapt the game to "
#| "include all of the jokes they intentionally never made because they "
#| "crossed that line. “It happened, and the world didn’t end,” Max said. “If "
#| "that is the worst cost of using CC, I’d pay that a hundred times over "
#| "because there are so many benefits.”"
msgid ""
"This remarkable trust they have in their customers is what inspired their "
"decision to apply a Creative Commons license to the game. Trusting your "
"customers to reuse and remix your work requires a leap of faith. Cards "
"Against Humanity obviously isn’t afraid of doing the unexpected, but there "
"are lines even they do not want to cross. Before applying the license, Max "
"said they worried that some fans would adapt the game to include all of the "
"jokes they intentionally never made because they crossed that line. "
"<quote>It happened, and the world didn’t end,</quote> Max said. <quote>If "
"that is the worst cost of using CC, I’d pay that a hundred times over "
"because there are so many benefits.</quote>"
msgstr ""
"Denne bemerkelsesverdige tilliten de har hos sine kunder var det som "
"inspirerte beslutningen deres om å bruke en Creative Commons-lisens til "
"spillet. Å tiltro kundene dine gjenbruk og remiksing av arbeidet ditt krever "
"en porsjon tæl. Cards Against Humanity er åpenbart ikke redd for å gjøre det "
"uventede, men det finnes grenser selv ikke de ønsker å krysse. Før de brukte "
"lisensen, sier Max de var bekymret for at noen fans ville tilpasse spillet "
"til å inkludere alle vitser de forsettlig aldri laget fordi de gikk over den "
"linjen. <quote>Det skjedde, og verden gikk ikke under</quote>, sa Max.  "
"<quote>Hvis det er den verste kostnaden ved å bruke CC, ville jeg betalt dét "
"hundre ganger, fordi det er så mange fordeler</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4104
msgid ""
"Any successful product inspires its biggest fans to create remixes of it, "
"but unsanctioned adaptations are more likely to fly under the radar. The "
"Creative Commons license gives fans of Cards Against Humanity the freedom to "
"run with the game and copy, adapt, and promote their creations openly. Today "
"there are thousands of fan expansions of the game."
msgstr ""
"Et vellykket produkt inspirerer sine største fans til å lage remikser av "
"det, men ikke-sanksjonerte tilpasninger flyr sannsynligvis under radaren. "
"Creative Commons-lisensen gir tilhengere av Cards Against Humanity frihet "
"til å bruke spillet, og kopiere, tilpasse, og åpent reklamere for det de har "
"laget. I dag finnes det tusenvis av utvidelser fra tilhengere av spillet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4112
#, fuzzy
#| msgid ""
#| "Max said, “CC was a no-brainer for us because it gets the most people "
#| "involved. Making the game free and available under a CC license led to "
#| "the unbelievable situation where we are one of the best-marketed games in "
#| "the world, and we have never spent a dime on marketing.”"
msgid ""
"Max said, <quote>CC was a no-brainer for us because it gets the most people "
"involved. Making the game free and available under a CC license led to the "
"unbelievable situation where we are one of the best-marketed games in the "
"world, and we have never spent a dime on marketing.</quote>"
msgstr ""
"Max sa, <quote>CC var lett for oss fordi det får mest folk involvert. Å "
"gjøre spillet gratis og tilgjengelig med en CC-lisens ledet til den utrolige "
"situasjonen der vi er en av de best markedsført spillene i verden, og vi har "
"aldri brukt en krone på markedsføring</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4119
#, fuzzy
#| msgid ""
#| "Of course, there are limits to what the company allows its customers to "
#| "do with the game. They chose the Attribution-NonCommercial-ShareAlike "
#| "license because it restricts people from using the game to make money. It "
#| "also requires that adaptations of the game be made available under the "
#| "same licensing terms if they are shared publicly. Cards Against Humanity "
#| "also polices its brand. “We feel like we’re the only ones who can use our "
#| "brand and our game and make money off of it,” Max said. About 99.9 "
#| "percent of the time, they just send an email to those making commercial "
#| "use of the game, and that is the end of it. There have only been a "
#| "handful of instances where they had to get a lawyer involved."
msgid ""
"Of course, there are limits to what the company allows its customers to do "
"with the game. They chose the Attribution-NonCommercial-ShareAlike license "
"because it restricts people from using the game to make money. It also "
"requires that adaptations of the game be made available under the same "
"licensing terms if they are shared publicly. Cards Against Humanity also "
"polices its brand. <quote>We feel like we’re the only ones who can use our "
"brand and our game and make money off of it,</quote> Max said. About 99.9 "
"percent of the time, they just send an email to those making commercial use "
"of the game, and that is the end of it. There have only been a handful of "
"instances where they had to get a lawyer involved."
msgstr ""
"Selvfølgelig er det grenser for hva firmaet tillater sine kunder å gjøre med "
"spillet. De valgte Attribution-NonCommercial-ShareAlike-lisensen fordi den "
"begrenser folk fra å bruke spillet til å tjene penger. Det krever også at "
"tilpasninger av spillet gjøres tilgjengelig med de samme lisensvilkårene "
"hvis de deles offentlig. Cards Against Humanity passer også på sin "
"merkevare. <quote>Vi føler at vi er de eneste som kan bruke vår merkevare og "
"vårt spill til å tjene penger</quote>, sa Max. Rundt 99,9 prosent av tiden "
"sender de bare en e-post til dem som bruker spillet kommersielt, og det er "
"slutten på det. Det har bare vært en håndfull tilfeller der de har måttet "
"hyre advokat."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4133
#, fuzzy
#| msgid ""
#| "Just as there is more than meets the eye to the Cards Against Humanity "
#| "business model, the same can be said of the game itself.  To be playable, "
#| "every white card has to work syntactically with enough black cards. The "
#| "eight creators invest an incredible amount of work into creating new "
#| "cards for the game. “We have daylong arguments about commas,” Max said. "
#| "“The slacker tone of the cards gives people the impression that it is "
#| "easy to write them, but it is actually a lot of work and quibbling.”"
msgid ""
"Just as there is more than meets the eye to the Cards Against Humanity "
"business model, the same can be said of the game itself.  To be playable, "
"every white card has to work syntactically with enough black cards. The "
"eight creators invest an incredible amount of work into creating new cards "
"for the game. <quote>We have daylong arguments about commas,</quote> Max "
"said. <quote>The slacker tone of the cards gives people the impression that "
"it is easy to write them, but it is actually a lot of work and quibbling.</"
"quote>"
msgstr ""
"Akkurat som det er mer for øyet enn det en ser i forretningsmodellen til "
"Cards Against Humanity, kan det samme sies om selve spillet. For å være "
"spillbare må alle hvite kort kunne fungere sammen med nok svarte kort. Åtte "
"bidragsytere legger ned en utrolig mengde arbeid for å skape nye kort for "
"spillet. <quote>Vi har dagelange diskusjoner om kommaer</quote>, sa Max.  "
"<quote>Slappfisk-tonen i kortene gir folk inntrykk av at det er enkelt å "
"skrive dem, men det er faktisk mye arbeid og ordkløveri</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4144
msgid ""
"That means cocreation with their fans really doesn’t work. The company has a "
"submission mechanism on their website, and they get thousands of "
"suggestions, but it is very rare that a submitted card is adopted. Instead, "
"the eight initial creators remain the primary authors of expansion decks and "
"other new products released by the company. Interestingly, the creativity of "
"their customer base is really only an asset to the company once their "
"original work is created and published when people make their own "
"adaptations of the game."
msgstr ""
"Det betyr at å lage dem sammen med fansen deres, virkelig ikke virker. "
"Selskapet har en innleveringsmulighet på hjemmesiden sin, og de får inn "
"tusenvis av forslag, men det er sjelden at et innsendt kort kommer med. De "
"åtte første forfatterne er og blir de viktigste bidragsytere til nye grupper "
"tilleggskort, og andre nye produkter utgitt av selskapet. Interessant nok er "
"kreativiteten i kundebasen deres egentlig bare en ressurs for selskapet, "
"først når det opprinnelige arbeidet er ferdig og publisert, og idet folk "
"lager sine egne tilpasninger til spillet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4155
#, fuzzy
#| msgid ""
#| "For all of their success, the creators of Cards Against Humanity are only "
#| "partially motivated by money. Max says they have always been interested "
#| "in the Walt Disney philosophy of financial success. “We don’t make jokes "
#| "and games to make money—we make money so we can make more jokes and "
#| "games,” he said."
msgid ""
"For all of their success, the creators of Cards Against Humanity are only "
"partially motivated by money. Max says they have always been interested in "
"the Walt Disney philosophy of financial success. <quote>We don’t make jokes "
"and games to make money—we make money so we can make more jokes and games,</"
"quote> he said."
msgstr ""
"Med all sin suksess, er de som laget Cards Against Humanity  bare delvis "
"motivert av penger. Max sier de alltid har vært interessert i Walt Disney "
"sin filosofi om økonomisk suksess. <quote>Vi lager ikke vitser og spill for "
"å tjene penger – vi tjener penger slik at vi kan lage flere vitser og spill</"
"quote>, sa han."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4162
#, fuzzy
#| msgid ""
#| "In fact, the company has given more than $4 million to various charities "
#| "and causes. “Cards is not our life plan,” Max said. “We all have other "
#| "interests and hobbies. We are passionate about other things going on in "
#| "our lives. A lot of the activism we have done comes out of us taking "
#| "things from the rest of our lives and channeling some of the excitement "
#| "from the game into it.”"
msgid ""
"In fact, the company has given more than $4 million to various charities and "
"causes. <quote>Cards is not our life plan,</quote> Max said. <quote>We all "
"have other interests and hobbies. We are passionate about other things going "
"on in our lives. A lot of the activism we have done comes out of us taking "
"things from the rest of our lives and channeling some of the excitement from "
"the game into it.</quote>"
msgstr ""
"Faktisk har selskapet gitt mer enn $4 millioner til forskjellige "
"veldedighetsorganisasjoner og formål. <quote>Kort er ikke vår plan for "
"livet</quote>, sa Max. <quote>Vi har andre interesser og hobbyer. Vi er "
"opptatt av andre ting som skjer i våre liv. Mye av vår aktivisme som vi har "
"utført springer ut fra at vi tar ut ting fra resten av våre liv og "
"kanaliserer noe av spenningen i spillet inn i det</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4171
msgid ""
"Seeing money as fuel rather than the ultimate goal is what has enabled them "
"to embrace Creative Commons licensing without reservation. CC licensing "
"ended up being a savvy marketing move for the company, but nonetheless, "
"giving up exclusive control of your work necessarily means giving up some "
"opportunities to extract more money from customers."
msgstr ""
"Å se penger som drivstoff i stedet for det endelige målet, er det som har "
"gjort dem i stand til, uten reservasjon, å favne om Creative Commons-"
"lisensiering. CC-lisensiering endte opp som et forstandig markedsføringsgrep "
"for selskapet, men likevel, å gi opp den eksklusive kontrollen over sitt "
"arbeid betyr nødvendigvis å gi opp noe av mulighetene til å hente ut mer "
"penger fra kunder."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4178
#, fuzzy
#| msgid ""
#| "“It’s not right for everyone to release everything under CC licensing,” "
#| "Max said. “If your only goal is to make a lot of money, then CC is not "
#| "best strategy. This kind of business model, though, speaks to your "
#| "values, and who you are and why you’re making things.”"
msgid ""
"<quote>It’s not right for everyone to release everything under CC licensing,"
"</quote> Max said. <quote>If your only goal is to make a lot of money, then "
"CC is not best strategy. This kind of business model, though, speaks to your "
"values, and who you are and why you’re making things.</quote>"
msgstr ""
"<quote>Det er ikke riktig for alle å legge ut alt under CC-lisensiering</"
"quote>, sa Max. <quote>Hvis du har som eneste mål å tjene masse penger, er "
"ikke CC beste strategi. Denne forretningsmodellen snakker imidlertid om dine "
"verdier, og hvem du er og hvorfor du lager ting</quote>."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4186
msgid "The Conversation"
msgstr "The Conversation"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4189
msgid ""
"The Conversation is an independent source of news, sourced from the academic "
"and research community and delivered direct to the public over the Internet. "
"Founded in 2011 in Australia."
msgstr ""
"The Conversation er en uavhengig kilde for nyheter, hentet fra akademiske og "
"forskningsamfunnet og levert direkte til publikum over Internett. Grunnlagt "
"2011 i Australia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4194
msgid "<ulink url=\"http://theconversation.com\"/>"
msgstr "<ulink url=\"http://theconversation.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4196
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging content "
"creators (universities pay membership fees to have their faculties serve as "
"writers), grant funding"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling fra "
"innholdsleverandørene (universiteter betaler kontingent for å ha sine "
"fakulteter som forfattere), donasjonsfinansiering"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4203
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Andrew Jaspan, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Andrew Jaspan, grunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4211
msgid ""
"Andrew Jaspan spent years as an editor of major newspapers including the "
"Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne, "
"Australia. He experienced firsthand the decline of newspapers, including the "
"collapse of revenues, layoffs, and the constant pressure to reduce costs. "
"After he left the Age in 2005, his concern for the future journalism didn’t "
"go away. Andrew made a commitment to come up with an alternative model."
msgstr ""
"Andrew Jaspan tilbrakte flere år som redaktør for store aviser, inkludert "
"The Observer i London, The Sunday Herald i Glasgow og The age i Melbourne, "
"Australia. Han opplevde selv nedgangen for avisene, inkludert fallet i "
"inntekter, og permitteringer, og konstant press for kostnadsreduksjon. Etter "
"at han forlot The Age i 2005, forsvant ikke hans bekymring for fremtidens "
"journalistikk. Andrew forpliktet seg til å koke opp en alternativ modell."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4221
msgid ""
"Around the time he left his job as editor of the Melbourne Age, Andrew "
"wondered where citizens would get news grounded in fact and evidence rather "
"than opinion or ideology. He believed there was still an appetite for "
"journalism with depth and substance but was concerned about the increasing "
"focus on the sensational and sexy."
msgstr ""
"På det tidspunktet han forlot jobben som redaktør av Melbourne Age, undret "
"Andrew seg på hvor borgerne ville få nyheter forankret i fakta og bevis "
"snarere enn i mening eller ideologi. Han mente det fortsatt var etterspørsel "
"etter journalistikk med dybde og substans, men var bekymret for økende fokus "
"på det spekulative."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4228
msgid ""
"While at the Age, he’d become friends with a vice-chancellor of a university "
"in Melbourne who encouraged him to talk to smart people across campus—an "
"astrophysicist, a Nobel laureate, earth scientists, economists . . . These "
"were the kind of smart people he wished were more involved in informing the "
"world about what is going on and correcting the errors that appear in media. "
"However, they were reluctant to engage with mass media. Often, journalists "
"didn’t understand what they said, or unilaterally chose what aspect of a "
"story to tell, putting out a version that these people felt was wrong or "
"mischaracterized. Newspapers want to attract a mass audience. Scholars want "
"to communicate serious news, findings, and insights. It’s not a perfect "
"match. Universities are massive repositories of knowledge, research, wisdom, "
"and expertise. But a lot of that stays behind a wall of their own making—"
"there are the walled garden and ivory tower metaphors, and in more literal "
"terms, the paywall. Broadly speaking, universities are part of society but "
"disconnected from it. They are an enormous public resource but not that good "
"at presenting their expertise to the wider public."
msgstr ""
"Mens han var i avisen <quote>The Age</quote>, var han blitt venner med en "
"prorektor ved et universitet i Melbourne, som oppmuntret ham til å snakke "
"med gløgge folk på hele lærestedet – en astrofysiker, en nobelprisvinner, "
"forskere fra geovitenskap, økonomer ... Disse var dyktige folk som han "
"ønsket var mer involvert i å informere verden om hva som skjer, og rette "
"feilene som dukker opp i media. De var imidlertid uvillige til å engasjere "
"seg i massemedia. Ofte forsto ikke journalister hva de sa, eller valgte "
"ensidig ut hvilket aspekt av en historie som ble fortalt, og publiserte en "
"versjon som fagfolkene følte var feil eller feilkarakterisert. Aviser ønsker "
"å tiltrekke seg et stort publikum. Forskere vil kommunisere seriøse nyheter, "
"funn og innsikter. Det er ikke en perfekt overensstemmelse (match) . "
"Universiteter er massive lagre med kunnskap, forskning, visdom og "
"ekspertise. Men mye av dette ligger bak en vegg de har laget selv – det er "
"metaforene om en inngjerdet hage og elfenbenstårnet, og i mer bokstavelig "
"forstand, betalingsveggen. Bredt sagt er universiteter en del av samfunnet, "
"men frakoblet det. De er en enorm offentlig ressurs, men ikke så bra på å "
"presentere sin kompetanse til det bredere publlikum."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4249
msgid ""
"Andrew believed he could to help connect academics back into the public "
"arena, and maybe help society find solutions to big problems. He thought "
"about pairing professional editors with university and research experts, "
"working one-on-one to refine everything from story structure to headline, "
"captions, and quotes.  The editors could help turn something that is "
"academic into something understandable and readable. And this would be a key "
"difference from traditional journalism—the subject matter expert would get a "
"chance to check the article and give final approval before it is published. "
"Compare this with reporters just picking and choosing the quotes and writing "
"whatever they want."
msgstr ""
"Andrew trodde han kunne hjelpe til med å koble akademikere til den "
"offentlige arenaen igjen, og kanskje bidra til at samfunnet finner løsninger "
"på større problemer. Han tenkte på å koble profesjonelle redaktører med "
"universitet og forskere, til å arbeider én-til-én for å forbedre alt fra "
"fortellingsstruktur til overskrift, bildetekster og sitater. Redaktørene kan "
"bidra til å gjøre noe som er akademisk, til noe forståelig og lesbart. Dette "
"ville vært en hovedforskjell fra tradisjonell journalistikk – emneeksperten "
"ville fått en sjanse å se artikkelen, og gi den en endelig godkjenning før "
"den blir publisert. Sammenlign dette med journalister som bare plukker og "
"velger sitater, og skriver hva enn de måtte ønske."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4262
msgid ""
"The people he spoke to liked this idea, and Andrew embarked on raising money "
"and support with the help of the Commonwealth Scientific and Industrial "
"Research Organisation (CSIRO), the University of Melbourne, Monash "
"University, the University of Technology Sydney, and the University of "
"Western Australia. These founding partners saw the value of an independent "
"information channel that would also showcase the talent and knowledge of the "
"university and research sector. With their help, in 2011, the Conversation, "
"was launched as an independent news site in Australia. Everything published "
"in the Conversation is openly licensed with Creative Commons."
msgstr ""
"De han snakket med likte denne idéen, og Andrew gikk i gang med å skaffe "
"penger og støtte ved hjelp av Commonwealth Scientific og Industrial Research "
"Organisation (CSIRO), University of Melbourne, Monash University, University "
"of Technology Sydney, og University of Western Australia. Disse "
"grunnleggende samarbeidspartnere så verdien av en uavhengig "
"informasjonskanal som også ville bli et utstillingsvindu for talent og "
"kunnskap i universitets- og forskningssektoren. Med deres hjelp, i 2011, ble "
"Conversation lansert som en uavhengig nyhetsside i Australia. Alt som "
"publiseres i Conversation lisensieres åpent med Creative Commons."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4275
msgid ""
"The Conversation is founded on the belief that underpinning a functioning "
"democracy is access to independent, high-quality, informative journalism. "
"The Conversation’s aim is for people to have a better understanding of "
"current affairs and complex issues—and hopefully a better quality of public "
"discourse. The Conversation sees itself as a source of trusted information "
"dedicated to the public good. Their core mission is simple: to provide "
"readers with a reliable source of evidence-based information."
msgstr ""
"Conversation er grunnlagt på den oppfatning at forankringen av et fungerende "
"demokrati er tilgang til uavhengig,  informativ journalistikk med høy "
"kvalitet. Conversations mål er at folk skal få en bedre forståelse av "
"aktuelle saker og komplekse problemstillinger – og forhåpentligvis også "
"høyne kvaliteten på den offentlige diskusjonen. Conversation ser seg selv "
"som en kilde til pålitelig informasjon til vårt felles beste. Kjerneoppgaven "
"deres er enkel: Å gi leserne en pålitelig kilde til bevisbasert informasjon."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4288
msgid "<ulink url=\"http://theconversation.com/us/charter\"/>"
msgstr "<ulink url=\"http://theconversation.com/us/charter\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4286
msgid ""
"Andrew worked hard to reinvent a methodology for creating reliable, credible "
"content. He introduced strict new working practices, a charter, and codes of "
"conduct.<placeholder type=\"footnote\" id=\"0\"/> These include fully "
"disclosing who every author is (with their relevant expertise); who is "
"funding their research; and if there are any potential or real conflicts of "
"interest. Also important is where the content originates, and even though it "
"comes from the university and research community, it still needs to be fully "
"disclosed. The Conversation does not sit behind a paywall. Andrew believes "
"access to information is an issue of equality—everyone should have access, "
"like access to clean water.  The Conversation is committed to an open and "
"free Internet.  Everyone should have free access to their content, and be "
"able to share it or republish it."
msgstr ""
"Andrew jobbet hardt for å gjenoppfinne en metodikk for å lage pålitelig, "
"troverdig innhold. Han innførte strenge nye arbeidsrutiner, prinsipper og "
"koder for utføringen.<placeholder type=\"footnote\" id=\"0\"/> Disse "
"inkluderer full åpenhet om hvem hver forfatter er (med sin relevante "
"kompetanse); hvem som finansierer forskningen deres; og om det er noen "
"potensielle eller faktiske interessekonflikter. Viktig er det også hvor "
"innholdet kommer fra, og selv om det kommer fra universitets- og "
"forskningssamfunnet, må det fremdeles være helt åpent.  Conversation "
"befinner seg ikke bak betalingsmur. Andrew tror at tilgang til informasjon "
"er et likhetsspørsmål – alle skal ha tilgang, som tilgang til rent vann. "
"Conversation er forpliktet til et åpent og gratis Internett. Alle bør ha "
"gratis tilgang til innholdet deres, kunne dele det, eller publiserere det på "
"nytt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4301
msgid ""
"Creative Commons help with these goals; articles are published with the "
"Attribution- NoDerivs license (CC BY-ND). They’re freely available for "
"others to republish elsewhere as long as attribution is given and the "
"content is not edited. Over five years, more than twenty-two thousand sites "
"have republished their content. The Conversation website gets about 2.9 "
"million unique views per month, but through republication they have thirty-"
"five million readers. This couldn’t have been done without the Creative "
"Commons license, and in Andrew’s view, Creative Commons is central to "
"everything the Conversation does."
msgstr ""
"Creative Commons hjelper til med disse målene; artiklene publiseres med "
"Attribution-NoDerivs-lisens (CC BY-ND). Det er fritt tilgjengelig for andre "
"å viderepublisere et annet sted så lenge henvisning er gitt, og innholdet "
"ikke er endret. I fem år har mer enn tjueto tusen nettsteder republisert "
"innholdet. Conversations nettsted får om lag 2,9 millioner unike "
"sidevisninger pr. måned, men gjennom viderepublisering har de trettifem "
"millioner lesere. Dette kunne ikke blitt gjort uten Creative Commons-"
"lisensen, og etter Andrews syn, er Creative Commons sentral i alt "
"Conversation gjør."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4313
msgid ""
"When readers come across the Conversation, they seem to like what they find "
"and recommend it to their friends, peers, and networks.  Readership has "
"grown primarily through word of mouth. While they don’t have sales and "
"marketing, they do promote their work through social media (including "
"Twitter and Facebook), and by being an accredited supplier to Google News."
msgstr ""
"Når leserne kommer over Conversation, virker det som om de liker det de "
"finner, og anbefaler det til venner, kolleger, og sine nettverk. Leserskaren "
"har primært vokst gjennom jungeltelegrafen. Selv om de ikke har salg og "
"markedsføring, fremmer de sitt arbeid gjennom sosiale medier (inkludert "
"Twitter og Facebook), og ved å være en akkreditert leverandør til Google "
"News."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4321
msgid ""
"It’s usual for the founders of any company to ask themselves what kind of "
"company it should be. It quickly became clear to the founders of the "
"Conversation that they wanted to create a public good rather than make money "
"off of information. Most media companies are working to aggregate as many "
"eyeballs as possible and sell ads. The Conversation founders didn’t want "
"this model. It takes no advertising and is a not-for-profit venture."
msgstr ""
"Det er vanlig for grunnleggerne av alle selskaper å spørre seg selv hva "
"slags selskap det skal være. Det ble raskt klart for grunnleggerne av "
"Conversation at de ønsket å opprette et offentlig gode i stedet for å tjene "
"penger på informasjonen. De fleste medieselskaper arbeider med å samle så "
"mange øyne som mulig for salg av annonser. Conversation-stifterne ønsket "
"ikke den modellen. De har ingen reklame og er et ikke-for-profitt -"
"foretagende."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4330
msgid ""
"There are now different editions of the Conversation for Africa, the United "
"Kingdom, France, and the United States, in addition to the one for "
"Australia. All five editions have their own editorial mastheads, advisory "
"boards, and content. The Conversation’s global virtual newsroom has roughly "
"ninety staff working with thirty-five thousand academics from over sixteen "
"hundred universities around the world. The Conversation would like to be "
"working with university scholars from even more parts of the world."
msgstr ""
"I dag er det ulike utgaver av Conversation for Afrika, Storbritannia, "
"Frankrike og USA, i tillegg til en for Australia. Alle fem versjonene har "
"egne redaksjonelle kolofoner, eget rådgivende styre og eget innhold. "
"Conversations globale virtuelle redaksjon har omtrent nitti ansatte som "
"arbeider med trettifem tusen akademikere fra over seksten hundre "
"universiteter over hele verden. Conversation ønsker å jobbe med "
"universitetsforskere fra enda flere deler av verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4340
msgid ""
"Additionally, each edition has its own set of founding partners, strategic "
"partners, and funders. They’ve received funding from foundations, "
"corporates, institutions, and individual donations, but the Conversation is "
"shifting toward paid memberships by universities and research institutions "
"to sustain operations. This would safeguard the current service and help "
"improve coverage and features."
msgstr ""
"I tillegg har hver utgave sitt eget sett av finansieringspartnere, "
"strategiske partnere og finansielle bidragsytere. De har mottatt "
"finansiering fra stiftelser, bedrifter, institusjoner og individuelle "
"donasjoner, men Conversation beveger seg mot betalt medlemskap fra "
"universiteter og forskningsinstitusjoner for å  videreføre virksomheten. "
"Dette ville sikre den nåværende tjenesten, og hjelpe til med å forbedre "
"dekning og funksjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4349
#, fuzzy
#| msgid ""
#| "When professors from member universities write an article, there is some "
#| "branding of the university associated with the article. On the "
#| "Conversation website, paying university members are listed as “members "
#| "and funders.” Early participants may be designated as “founding members,” "
#| "with seats on the editorial advisory board."
msgid ""
"When professors from member universities write an article, there is some "
"branding of the university associated with the article. On the Conversation "
"website, paying university members are listed as <quote>members and funders."
"</quote> Early participants may be designated as <quote>founding members,</"
"quote> with seats on the editorial advisory board."
msgstr ""
"Når professorer fra medlemsuniversiteter skriver en artikkel, er det noe "
"merkevarebygging for universitetet tilknyttet artikkelen. På Conversations "
"nettside, er betalende universitetsmedlemmer oppført som \"medlemmer og "
"finansierere .\" Tidlige deltakerne kan angis som \"grunnleggermedlemmer\", "
"med plass i det redaksjonelle rådgivende styre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4357
msgid ""
"Academics are not paid for their contributions, but they get free editing "
"from a professional (four to five hours per piece, on average). They also "
"get access to a large audience. Every author and member university has "
"access to a special analytics dashboard where they can check the reach of an "
"article. The metrics include what people are tweeting, the comments, "
"countries the readership represents, where the article is being republished, "
"and the number of readers per article."
msgstr ""
"Akademikere betales ikke for sine bidrag, men får fri redigeringsbistand fra "
"en profesjonell (fire til fem timer i gjennomsnitt per stykke).  De får også "
"tilgang til et stort publikum. Hver forfatter og medlems-universitet har "
"tilgang til en spesiell analyseoversikt der de kan se hvor langt en artikkel "
"rekker ut. Beregningene omfatter hva folk kvitrer, kommentarene, landene "
"lesekretsen representerer, hvor artikkelen er viderepublisert, og antall "
"lesere per artikkel."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4367
msgid ""
"The Conversation plans to expand the dashboard to show not just reach but "
"impact. This tracks activities, behaviors, and events that occurred as a "
"result of publication, including things like a scholar being asked to go on "
"a show to discuss their piece, give a talk at a conference, collaborate, "
"submit a journal paper, and consult a company on a topic."
msgstr ""
"Conversation planlegger å utvide analyseverktøyet til å vise ikke bare "
"spredning, men innvirkning. Dette sporer aktiviteter, atferd og hendelser "
"som som følge av publikasjonen, inkludert ting som at en fagperson blir bedt "
"om å være med på en forestilling for å diskutere sitt bidrag, holde en tale "
"på en konferanse, samarbeide, sende et bidrag til en journal og konsultere "
"et selskap om et emne."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4375
msgid ""
"These reach and impact metrics show the benefits of membership.  With the "
"Conversation, universities can engage with the public and show why they’re "
"of value."
msgstr ""
"Disse gjennomslags- og rekkeviddeberegningene viser fordelene ved "
"medlemskap. Med Conversation kan universiteter engasjere offentligheten, og "
"vise at de er verdifulle."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4380
#, fuzzy
#| msgid ""
#| "With its tagline, “Academic Rigor, Journalistic Flair,” the Conversation "
#| "represents a new form of journalism that contributes to a more informed "
#| "citizenry and improved democracy around the world. Its open business "
#| "model and use of Creative Commons show how it’s possible to generate both "
#| "a public good and operational revenue at the same time."
msgid ""
"With its tagline, <quote>Academic Rigor, Journalistic Flair,</quote> the "
"Conversation represents a new form of journalism that contributes to a more "
"informed citizenry and improved democracy around the world. Its open "
"business model and use of Creative Commons show how it’s possible to "
"generate both a public good and operational revenue at the same time."
msgstr ""
"Med sitt slagord, <quote>Akademisk standhaftighet, journalistisk finesse</"
"quote>, representerer Conversation en ny form for journalistikk som bidrar "
"til en bedre informert borgerstand, og forbedret demokrati rundt om i "
"verden. Dets åpne forretningsmodell og bruk av Creative Commons viser "
"hvordan det er mulig å bygge opp både et offentlig gode, og inndrive "
"operasjonelle inntekter samtidig."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4389
msgid "Cory Doctorow"
msgstr "Cory Doctorow"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4392
msgid ""
"Cory Doctorow is a science fiction writer, activist, blogger, and "
"journalist. Based in the U.S."
msgstr ""
"Cory Doctorow er en science fiction-forfatter, aktivist, blogger og "
"journalist med base i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4395
msgid ""
"<ulink url=\"http://craphound.com\"/> and <ulink url=\"http://boingboing.net"
"\"/>"
msgstr ""
"<ulink url=\"http://craphound.com\"/> og <ulink url=\"http://boingboing.net"
"\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4398
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies (book sales), pay-what-you-want, selling translation rights to books"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for fysiske "
"kopier (boksalg), betal-hva-du-vil, salg av rettigheter til bokoversettelser"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4402
msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 12, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 12.  januar 2016"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4410
#, fuzzy
#| msgid ""
#| "Cory Doctorow hates the term “business model,” and he is adamant that he "
#| "is not a brand. “To me, branding is the idea that you can take a thing "
#| "that has certain qualities, remove the qualities, and go on selling it,” "
#| "he said. “I’m not out there trying to figure out how to be a brand. I’m "
#| "doing this thing that animates me to work crazy insane hours because it’s "
#| "the most important thing I know how to do.”"
msgid ""
"Cory Doctorow hates the term <quote>business model,</quote> and he is "
"adamant that he is not a brand. <quote>To me, branding is the idea that you "
"can take a thing that has certain qualities, remove the qualities, and go on "
"selling it,</quote> he said. <quote>I’m not out there trying to figure out "
"how to be a brand. I’m doing this thing that animates me to work crazy "
"insane hours because it’s the most important thing I know how to do.</quote>"
msgstr ""
"Cory Doctorow hater begrepet <quote>forretningsmodell</quote>, og han er "
"ubøyelig på at han ikke er en merkevare. <quote>For meg er merkevarebygging "
"idéen om at du kan ta en ting som har visse kvaliteter, fjerne kvalitetene "
"og så gå i gang med å selge det</quote>, sa han. <quote>Jeg er ikke der ute "
"for å prøve å finne ut hvordan man blir en merkevare. Jeg gjør det som egger "
"meg i det å arbeide et utallig antall timer fordi det er det aller viktigste "
"jeg vet hvordan skal gjøres</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4419
msgid ""
"Cory calls himself an entrepreneur. He likes to say his success came from "
"making stuff people happened to like and then getting out of the way of them "
"sharing it."
msgstr ""
"Cory kaller seg entreprenør. Han liker å si at hans suksess kom fra å gjøre "
"ting folk tilfeldigvis liker, for så å ikke være i veien når de deler det."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4424
msgid ""
"He is a science fiction writer, activist, blogger, and journalist.  "
"Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003, "
"his work has been published under a Creative Commons license. Cory is "
"coeditor of the popular CC-licensed site Boing Boing, where he writes about "
"technology, politics, and intellectual property. He has also written several "
"nonfiction books, including the most recent Information Doesn’t Want to Be "
"Free, about the ways in which creators can make a living in the Internet age."
msgstr ""
"Han er science fiction-forfatter, aktivist, blogger og journalist. Han "
"begynte med sin første roman, Down and Out in the Magic Kingdom, i 2003, med "
"sitt arbeid publisert med en Creative Commons-lisens. Cory er medredaktør av "
"det populære CC-lisensierte nettstedet Boing Boing, der han skriver om "
"teknologi, politikk, opphavsrett og programvarepatenter. Han har også "
"skrevet flere sakprosa-bøker, inkludert den nyeste <quote>Information "
"Doesn’t Want to Be Free</quote>, om måtene innholdsprodusenter kan skaffe "
"seg et levebrød i Internett-alderen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4435
msgid ""
"Cory primarily makes money by selling physical books, but he also takes on "
"paid speaking gigs and is experimenting with pay-what-you-want models for "
"his work."
msgstr ""
"Cory tjener primært penger ved å selge fysiske bøker, men han tar også "
"betalt på foredragsarrangementer, og  eksperimenterer med betal-hva-du-vil-"
"modeller for sitt arbeid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4440
#, fuzzy
#| msgid ""
#| "While Cory’s extensive body of fiction work has a large following, he is "
#| "just as well known for his activism. He is an outspoken opponent of "
#| "restrictive copyright and digital-rights-management (DRM) technology used "
#| "to lock up content because he thinks both undermine creators and the "
#| "public interest. He is currently a special adviser at the Electronic "
#| "Frontier Foundation, where he is involved in a lawsuit challenging the U."
#| "S. law that protects DRM.  Cory says his political work doesn’t directly "
#| "make him money, but if he gave it up, he thinks he would lose credibility "
#| "and, more importantly, lose the drive that propels him to create. “My "
#| "political work is a different expression of the same artistic-political "
#| "urge,” he said. “I have this suspicion that if I gave up the things that "
#| "didn’t make me money, the genuineness would leach out of what I do, and "
#| "the quality that causes people to like what I do would be gone.”"
msgid ""
"While Cory’s extensive body of fiction work has a large following, he is "
"just as well known for his activism. He is an outspoken opponent of "
"restrictive copyright and digital-rights-management (DRM) technology used to "
"lock up content because he thinks both undermine creators and the public "
"interest. He is currently a special adviser at the Electronic Frontier "
"Foundation, where he is involved in a lawsuit challenging the U.S. law that "
"protects DRM.  Cory says his political work doesn’t directly make him money, "
"but if he gave it up, he thinks he would lose credibility and, more "
"importantly, lose the drive that propels him to create. <quote>My political "
"work is a different expression of the same artistic-political urge,</quote> "
"he said. <quote>I have this suspicion that if I gave up the things that "
"didn’t make me money, the genuineness would leach out of what I do, and the "
"quality that causes people to like what I do would be gone.</quote>"
msgstr ""
"Mens Corys omfattende fiksjonsforfatterskap har en stor tilhengerskare, er "
"han like godt kjent for sin aktivisme. Han er en frittalende motstander av "
"at restriktiv opphavsretts- og digital rettighetshåndteringsteknologi (DRM-"
"teknologi ) brukes til å låse innhold, fordi han mener begge undergraver "
"innholdsprodusenters- og offentlighetens interesser. Han er spesialrådgiver "
"for Electronic Frontier Foundation, hvor han er involvert i en rettssak som "
"utfordrer den amerikanske lovens beskyttelse av DRM. Cory sier at hans "
"politiske arbeid ikke er direkte inntektsbringende, men hvis han ga det opp, "
"tror han at han vil miste troverdighet, og enda viktigere, tape pågangsmotet "
"som driver ham til å lage innhold. <quote>Mitt politiske arbeid er et annet "
"uttrykk for den samme kunstnerisk-politiske trangen</quote>, sa han. "
"<quote>Jeg har denne mistanken om at hvis jeg ga opp tingene som ikke ga meg "
"penger, ville ektheten forsvinne fra det jeg gjør, og kvaliteten som fører "
"folk til å like det jeg gjør, ville bli borte</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4457
#, fuzzy
#| msgid ""
#| "Cory has been financially successful, but money is not his primary "
#| "motivation. At the start of his book Information Doesn’t Want to Be Free, "
#| "he stresses how important it is not to become an artist if your goal is "
#| "to get rich. “Entering the arts because you want to get rich is like "
#| "buying lottery tickets because you want to get rich,” he wrote. “It might "
#| "work, but it almost certainly won’t.  Though, of course, someone always "
#| "wins the lottery.” He acknowledges that he is one of the lucky few to "
#| "“make it,” but he says he would be writing no matter what. “I am "
#| "compelled to write,” he wrote. “Long before I wrote to keep myself fed "
#| "and sheltered, I was writing to keep myself sane.”"
msgid ""
"Cory has been financially successful, but money is not his primary "
"motivation. At the start of his book Information Doesn’t Want to Be Free, he "
"stresses how important it is not to become an artist if your goal is to get "
"rich. <quote>Entering the arts because you want to get rich is like buying "
"lottery tickets because you want to get rich,</quote> he wrote. <quote>It "
"might work, but it almost certainly won’t. Though, of course, someone always "
"wins the lottery.</quote> He acknowledges that he is one of the lucky few to "
"<quote>make it,</quote> but he says he would be writing no matter what. "
"<quote>I am compelled to write,</quote> he wrote.  <quote>Long before I "
"wrote to keep myself fed and sheltered, I was writing to keep myself sane.</"
"quote>"
msgstr ""
"Cory har blitt økonomisk vellykket, men penger er ikke hans viktigste "
"motivasjon. I begynnelsen i boka  <quote>Information Doesn’t Want to Be "
"Free</quote> understreker han hvor viktig det er å ikke bli kunstner, hvis "
"målet ditt er å bli rik. <quote>Å velge kunsten fordi du ønsker å bli rik er "
"som å kjøpe lodd, fordi du vil bli rik</quote>, skrev han. <quote>Det kan "
"fungere, men det vil nesten helt sikkert ikke gjøre det. Selvfølgelig vinner "
"noen selv alltid lotteriet</quote>. Han erkjenner at han er en av de heldige "
"få som <quote>får det til</quote>, men han sier han vil skrive samme hva. "
"<quote>Jeg er nødt til å skrive</quote>, skrev han. <quote>Lenge før jeg "
"skrev for å få mat på bordet og tak over hodet, skrev jeg for å holde meg "
"selv frisk</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4471
#, fuzzy
#| msgid ""
#| "Just as money is not his primary motivation to create, money is not his "
#| "primary motivation to share. For Cory, sharing his work with Creative "
#| "Commons is a moral imperative. “It felt morally right,” he said of his "
#| "decision to adopt Creative Commons licenses. “I felt like I wasn’t "
#| "contributing to the culture of surveillance and censorship that has been "
#| "created to try to stop copying.” In other words, using CC licenses "
#| "symbolizes his worldview."
msgid ""
"Just as money is not his primary motivation to create, money is not his "
"primary motivation to share. For Cory, sharing his work with Creative "
"Commons is a moral imperative. <quote>It felt morally right,</quote> he said "
"of his decision to adopt Creative Commons licenses. <quote>I felt like I "
"wasn’t contributing to the culture of surveillance and censorship that has "
"been created to try to stop copying.</quote> In other words, using CC "
"licenses symbolizes his worldview."
msgstr ""
"Akkurat som penger ikke er hans primære motivasjon for å skape, er penger "
"ikke hans primære motivasjon for å dele. For Cory er å dele sitt arbeid med "
"Creative Commons et moralsk imperativ. <quote>Det føltes moralsk riktig</"
"quote>, sa han om sin beslutning om å ta i bruk (vedta) Creative Commons-"
"lisenser. <quote>Jeg følte at jeg ikke var bidragsyter til "
"overvåkningskultur og sensur, som er opprettet for å prøve å stoppe "
"kopieringen</quote>. Med andre ord symboliserer bruken av CC-lisenser hans "
"verdensbilde."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4481
#, fuzzy
#| msgid ""
#| "He also feels like there is a solid commercial basis for licensing his "
#| "work with Creative Commons. While he acknowledges he hasn’t been able to "
#| "do a controlled experiment to compare the commercial benefits of "
#| "licensing with CC against reserving all rights, he thinks he has sold "
#| "more books using a CC license than he would have without it. Cory says "
#| "his goal is to convince people they should pay him for his work. “I "
#| "started by not calling them thieves,” he said."
msgid ""
"He also feels like there is a solid commercial basis for licensing his work "
"with Creative Commons. While he acknowledges he hasn’t been able to do a "
"controlled experiment to compare the commercial benefits of licensing with "
"CC against reserving all rights, he thinks he has sold more books using a CC "
"license than he would have without it. Cory says his goal is to convince "
"people they should pay him for his work. <quote>I started by not calling "
"them thieves,</quote> he said."
msgstr ""
"Han føler også at det finnes en solid kommersiell basis for lisensiering av "
"sitt arbeid med Creative Commons. Mens han erkjenner at han ikke har vært i "
"stand til å gjøre et kontrollert eksperiment for å sammenligne de "
"kommersielle fordelene ved lisensiering med CC opp mot å reservere alle "
"rettigheter, mener han at han har solgt flere bøker ved å bruke en CC-lisens "
"enn han ville ha gjort uten. Cory sier at hans mål er å overbevise folk om "
"at de skal betale ham for sitt arbeid. <quote>Jeg startet med å ikke kalle "
"dem tyver</quote>, sa han."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4491
#, fuzzy
#| msgid ""
#| "Cory started using CC licenses soon after they were first created.  At "
#| "the time his first novel came out, he says the science fiction genre was "
#| "overrun with people scanning and downloading books without permission. "
#| "When he and his publisher took a closer look at who was doing that sort "
#| "of thing online, they realized it looked a lot like book promotion. “I "
#| "knew there was a relationship between having enthusiastic readers and "
#| "having a successful career as a writer,” he said. “At the time, it took "
#| "eighty hours to OCR a book, which is a big effort. I decided to spare "
#| "them the time and energy, and give them the book for free in a format "
#| "destined to spread.”"
msgid ""
"Cory started using CC licenses soon after they were first created.  At the "
"time his first novel came out, he says the science fiction genre was overrun "
"with people scanning and downloading books without permission. When he and "
"his publisher took a closer look at who was doing that sort of thing online, "
"they realized it looked a lot like book promotion. <quote>I knew there was a "
"relationship between having enthusiastic readers and having a successful "
"career as a writer,</quote> he said. <quote>At the time, it took eighty "
"hours to OCR a book, which is a big effort. I decided to spare them the time "
"and energy, and give them the book for free in a format destined to spread.</"
"quote>"
msgstr ""
"Cory startet bruken av CC-lisenser like etter at de var laget ferdige. Da "
"hans første novelle kom ut, sa han at science fiction-sjangeren var misbrukt "
"av folk som lastet ned og delte bøker uten lov. Da han i samråd med sin "
"forlegger tok dem som gjorde dette på nett i nærmere øyesyn, skjønte de at "
"det så mer ut som bokpromotering. <quote>Jeg visste at det var en symbiose "
"mellom en entusiastisk leserskare og suksess som skribent</quote>, sa han. "
"<quote>På den tiden tok det åtti timer å tegnlese (OCR) en bok (OCR – "
"optical character recognition), noe som krever mye innsats. Jeg besluttet å "
"spare dem tiden og energien, og gi ut boken min gratis i et format som var  "
"beregnet for spredning</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4504
msgid ""
"Cory admits the stakes were pretty low for him when he first adopted "
"Creative Commons licenses. He only had to sell two thousand copies of his "
"book to break even. People often said he was only able to use CC licenses "
"successfully at that time because he was just starting out. Now they say he "
"can only do it because he is an established author."
msgstr ""
"Cory innrømmer at satsingen hans var ganske liten da han først tok i bruk "
"Creative Commons-lisenser. Han måtte bare selge to tusen eksemplarer av boka "
"si for å gå i null. Folk sa ofte at han kun var i stand til å nytte CC-"
"lisensiering med hell på dette tidspunktet fordi han var i startfasen. Nå "
"sier de at det er som følge av hans etablerte forfatterskap."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4512
#, fuzzy
#| msgid ""
#| "The bottom line, Cory says, is that no one has found a way to prevent "
#| "people from copying the stuff they like. Rather than fighting the tide, "
#| "Cory makes his work intrinsically shareable.  “Getting the hell out of "
#| "the way for people who want to share their love of you with other people "
#| "sounds obvious, but it’s remarkable how many people don’t do it,” he said."
msgid ""
"The bottom line, Cory says, is that no one has found a way to prevent people "
"from copying the stuff they like. Rather than fighting the tide, Cory makes "
"his work intrinsically shareable.  <quote>Getting the hell out of the way "
"for people who want to share their love of you with other people sounds "
"obvious, but it’s remarkable how many people don’t do it,</quote> he said."
msgstr ""
"I konklusjonen, sier Cory at ingen har funnet en måte å forhindre folk fra å "
"kopiere ting de liker. Snarere enn å opptre naturstridig, gjør han sitt "
"arbeid egentlig (iboende) delbart. <quote>Å i god fart komme seg vekk fra å "
"være i veien for folk som vil dele sin kjærlighet til deg med andre, høres "
"opplagt ut, men det er oppsiktsvekkende hvor mange som ikke synes det</"
"quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4520
#, fuzzy
#| msgid ""
#| "Making his work available under Creative Commons licenses enables him to "
#| "view his biggest fans as his ambassadors. “Being open to fan activity "
#| "makes you part of the conversation about what fans do with your work and "
#| "how they interact with it,” he said. Cory’s own website routinely "
#| "highlights cool things his audience has done with his work. Unlike "
#| "corporations like Disney that tend to have a hands-off relationship with "
#| "their fan activity, he has a symbiotic relationship with his audience. "
#| "“Engaging with your audience can’t guarantee you success,” he said. “And "
#| "Disney is an example of being able to remain aloof and still being the "
#| "most successful company in the creative industry in history. But I figure "
#| "my likelihood of being Disney is pretty slim, so I should take all the "
#| "help I can get.”"
msgid ""
"Making his work available under Creative Commons licenses enables him to "
"view his biggest fans as his ambassadors. <quote>Being open to fan activity "
"makes you part of the conversation about what fans do with your work and how "
"they interact with it,</quote> he said.  Cory’s own website routinely "
"highlights cool things his audience has done with his work. Unlike "
"corporations like Disney that tend to have a hands-off relationship with "
"their fan activity, he has a symbiotic relationship with his audience. "
"<quote>Engaging with your audience can’t guarantee you success,</quote> he "
"said.  <quote>And Disney is an example of being able to remain aloof and "
"still being the most successful company in the creative industry in history. "
"But I figure my likelihood of being Disney is pretty slim, so I should take "
"all the help I can get.</quote>"
msgstr ""
"Ved å gjøre sitt arbeid tilgjengelig med CC-lisenser gjør at han kan se på "
"sine mest ihuga tilhengere som sine ambassadører. <quote>Å være åpen for fan-"
"aktivitet gjør deg til en del av samtalen om hva tilhengere gjør med ditt "
"arbeid, og hvordan de kommuniserer med det</quote>, sa han. Corys egen "
"nettside framhever regelmessig kule ting hans publikum har gjort med hans "
"arbeid. Ulikt selskaper som Disney, som tenderer til å ha et hendene vekk-"
"forhold til sin fanskare, har han en nær sameksistens med sitt publikum. "
"<quote>Å engasjerer ditt publikum kan ikke garantere suksess</quote>, sa "
"han. <quote>Og Disney er et eksempel å merke seg, idet det tross alt er det "
"mest vellykkede selskapet i den kreative industrien. Dog regner jeg med at "
"sannsynligheten for å bli som Disney er heller liten, så jeg bør ta all den "
"hjelp jeg kan få</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4535
msgid ""
"His first book was published under the most restrictive Creative Commons "
"license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only "
"verbatim copying for noncommercial purposes. His later work is published "
"under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which "
"gives people the right to adapt his work for noncommercial purposes but only "
"if they share it back under the same license terms. Before releasing his "
"work under a CC license that allows adaptations, he always sells the right "
"to translate the book to other languages to a commercial publisher first. He "
"wants to reach new potential buyers in other parts of the world, and he "
"thinks it is more difficult to get people to pay for translations if there "
"are fan translations already available for free."
msgstr ""
"Hans første bok ble publisert med den mest restriktive Creative Commons-"
"lisensen, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). Den tillater kun "
"helhetlig kopiering for ikke-kommersielle formål. Hans senere arbeider kom "
"ut under Attribution-NonCommercial-ShareAlike-lisensen (CC BY-NC-SA), som "
"gir folk retten til å endre hans arbeider for ikke-kommersielle formål, men "
"bare hvis de deler på like lisensvilkår. Før han utgir sitt arbeid under en "
"CC-lisens som tillater bearbeidelser, selger han alltid retten til å "
"oversette boka til andre språk til en kommersiell forlegger først. Han "
"ønsker å nå nye potensielle kjøpere i andre deler av verden, og tror det er "
"vanskeligere å få folk til å betale for oversettelser hvis det allerede "
"finnes uprofesjonelle oversettelser tilgjengelig gratis."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4550
#, fuzzy
#| msgid ""
#| "In his book Information Doesn’t Want to Be Free, Cory likens his "
#| "philosophy to thinking like a dandelion. Dandelions produce thousands of "
#| "seeds each spring, and they are blown into the air going in every "
#| "direction. The strategy is to maximize the number of blind chances the "
#| "dandelion has for continuing its genetic line. Similarly, he says there "
#| "are lots of people out there who may want to buy creative work or "
#| "compensate authors for it in some other way. “The more places your work "
#| "can find itself, the greater the likelihood that it will find one of "
#| "those would-be customers in some unsuspected crack in the metaphorical "
#| "pavement,” he wrote.  “The copies that others make of my work cost me "
#| "nothing, and present the possibility that I’ll get something.”"
msgid ""
"In his book Information Doesn’t Want to Be Free, Cory likens his philosophy "
"to thinking like a dandelion. Dandelions produce thousands of seeds each "
"spring, and they are blown into the air going in every direction. The "
"strategy is to maximize the number of blind chances the dandelion has for "
"continuing its genetic line. Similarly, he says there are lots of people out "
"there who may want to buy creative work or compensate authors for it in some "
"other way. <quote>The more places your work can find itself, the greater the "
"likelihood that it will find one of those would-be customers in some "
"unsuspected crack in the metaphorical pavement,</quote> he wrote. <quote>The "
"copies that others make of my work cost me nothing, and present the "
"possibility that I’ll get something.</quote>"
msgstr ""
"I sin bok <quote>Information Doesn't Want to Be Free</quote>, sammenligner "
"Cory sin filosofi med løvetannen. De produserer tusener av frø hver vår, og "
"de blåses for alle vinder i alle retninger. Strategien er å maksimalisere "
"antall tilfeldigheter som må på plass for at den skal kunne videreføre sin "
"herkomst. Likeledes sier han at det finnes mange der ute som ønsker å kjøpe "
"kreative arbeider, eller kompensere forfattere for dem, på en eller annen "
"måte. <quote>Desto flere plasser ditt arbeid kan finne sitt publikum, desto "
"større er sjansen for at en potensiell kunde skal dukke opp</quote>, skrev "
"han. <quote>Kopiene andre gjør av arbeidet koster meg ingenting, og gjør det "
"mulig at jeg vil få noe tilbake</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4565
#, fuzzy
#| msgid ""
#| "Applying a CC license to his work increases the chances it will be shared "
#| "more widely around the Web. He avoids DRM—and openly opposes the practice—"
#| "for similar reasons. DRM has the effect of tying a work to a particular "
#| "platform. This digital lock, in turn, strips the authors of control over "
#| "their own work and hands that control over to the platform. He calls it "
#| "Cory’s First Law: “Anytime someone puts a lock on something that belongs "
#| "to you and won’t give you the key, that lock isn’t there for your "
#| "benefit.”"
msgid ""
"Applying a CC license to his work increases the chances it will be shared "
"more widely around the Web. He avoids DRM—and openly opposes the practice—"
"for similar reasons. DRM has the effect of tying a work to a particular "
"platform. This digital lock, in turn, strips the authors of control over "
"their own work and hands that control over to the platform. He calls it "
"Cory’s First Law: <quote>Anytime someone puts a lock on something that "
"belongs to you and won’t give you the key, that lock isn’t there for your "
"benefit.</quote>"
msgstr ""
"Bruk av  en CC-lisens i sitt arbeid øker sjansen for at det skal deles viden "
"rundt på nettet. Han unngår DRM (Digital rights management) – og nytter "
"åpent høvet til å ville avskaffe slikt – av lignende grunner. DRM har som "
"effekt å prøve å binde et verk til en spesiell plattform. Denne digitale "
"låsen vil i sin tur medføre at forfatterne mister kontroll over eget arbeid, "
"og overleverer kontrollen til plattformen. Han kaller det Corys første lov: "
"<quote>Hver gang noen putter en lås på noe som tilhører deg, og ikke ønsker "
"å gi deg nøkkelen, er den ikke der i hensikt å gagne deg</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4576
#, fuzzy
#| msgid ""
#| "Cory operates under the premise that artists benefit when there are more, "
#| "rather than fewer, places where people can access their work. The "
#| "Internet has opened up those avenues, but DRM is designed to limit them. "
#| "“On the one hand, we can credibly make our work available to a widely "
#| "dispersed audience,” he said. “On the other hand, the intermediaries we "
#| "historically sold to are making it harder to go around them.” Cory "
#| "continually looks for ways to reach his audience without relying upon "
#| "major platforms that will try to take control over his work."
msgid ""
"Cory operates under the premise that artists benefit when there are more, "
"rather than fewer, places where people can access their work. The Internet "
"has opened up those avenues, but DRM is designed to limit them. <quote>On "
"the one hand, we can credibly make our work available to a widely dispersed "
"audience,</quote> he said. <quote>On the other hand, the intermediaries we "
"historically sold to are making it harder to go around them.</quote> Cory "
"continually looks for ways to reach his audience without relying upon major "
"platforms that will try to take control over his work."
msgstr ""
"Cory opererer under premisset at artister nyter godt av flere, snarere enn "
"færre plasser tilgjengelig for sitt arbeid. Internett har åpnet opp disse "
"veiene, men DRM er designet for å begrense dem. <quote>På den ene siden kan "
"vi i god tro gjøre vårt arbeid tilgjengelig for et bredt publikum</quote>, "
"sa han. <quote>På den andre siden gjør formidlerne vi tradisjonelt har gått "
"til det vanskeligere å komme unna dem</quote>. Cory ser kontinuerlig etter "
"måter å nå sitt publikum på uten å måtte stole på store plattformer som "
"ønsker å ta kontrollen over hans arbeid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4587
msgid ""
"Cory says his e-book sales have been lower than those of his competitors, "
"and he attributes some of that to the CC license making the work available "
"for free. But he believes people are willing to pay for content they like, "
"even when it is available for free, as long as it is easy to do. He was "
"extremely successful using Humble Bundle, a platform that allows people to "
"pay what they want for DRM-free versions of a bundle of a particular "
"creator’s work. He is planning to try his own pay-what-you-want experiment "
"soon."
msgstr ""
"Cory sier at hans nettbaserte e-boksalg har vært lavere enn sine "
"konkurrenters, og han mener noe av det skriver seg til bruken av CC-"
"lisensiering,  idet det gjør arbeidene tilgjengelige gratis. Han tror dog at "
"folk er villige til å betale for innhold de liker, selv når det er "
"tilgjengelig gratis, så lenge det er enkelt å gjøre. Han traff helt blink i "
"bruken av Humble Bundle, en plattform som tillater folk å betale det de vil, "
"for DRM-frie versjoner av et knippe arbeider. Han planlegger å sette sitt "
"eget betal-hva-du-vil -eksperiment ut i livet snart."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4598
#, fuzzy
#| msgid ""
#| "Fans are particularly willing to pay when they feel personally connected "
#| "to the artist. Cory works hard to create that personal connection. One "
#| "way he does this is by personally answering every single email he gets. "
#| "“If you look at the history of artists, most die in penury,” he said. "
#| "“That reality means that for artists, we have to find ways to support "
#| "ourselves when public tastes shift, when copyright stops producing. "
#| "Future-proofing your artistic career in many ways means figuring out how "
#| "to stay connected to those people who have been touched by your work.”"
msgid ""
"Fans are particularly willing to pay when they feel personally connected to "
"the artist. Cory works hard to create that personal connection. One way he "
"does this is by personally answering every single email he gets. <quote>If "
"you look at the history of artists, most die in penury,</quote> he said. "
"<quote>That reality means that for artists, we have to find ways to support "
"ourselves when public tastes shift, when copyright stops producing.  Future-"
"proofing your artistic career in many ways means figuring out how to stay "
"connected to those people who have been touched by your work.</quote>"
msgstr ""
"Tilhengere er i særdeleshet villig til å betale når de føler seg personlig "
"knyttet til artisten. Cory arbeider hardt for å knytte de personlige "
"båndene. Én måte han gjør dette på er å svare personlig på hver eneste e-"
"post han får. <quote>Hvis du ser på artisters historikk, vil du se at de "
"fleste dør i elendighet</quote>, sier han. <quote>Det betyr at for artister "
"må vi finne måter å støtte oss selv på, når publikums smak tar en annen "
"retning, når opphavsretten slutter å produsere. Å sikre sin artistiske "
"karriére for fremtiden er på mange måter noe som handler om å holde "
"kontakten med dem som har blitt rørt av ditt arbeid</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4610
#, fuzzy
#| msgid ""
#| "Cory’s realism about the difficulty of making a living in the arts does "
#| "not reflect pessimism about the Internet age. Instead, he says the fact "
#| "that it is hard to make a living as an artist is nothing new. What is "
#| "new, he writes in his book, “is how many ways there are to make things, "
#| "and to get them into other people’s hands and minds.”"
msgid ""
"Cory’s realism about the difficulty of making a living in the arts does not "
"reflect pessimism about the Internet age. Instead, he says the fact that it "
"is hard to make a living as an artist is nothing new. What is new, he writes "
"in his book, <quote>is how many ways there are to make things, and to get "
"them into other people’s hands and minds.</quote>"
msgstr ""
"Corys realisme om vanskeligheten rundt det å leve av kunsten gjør seg ikke "
"gjeldende som pessimisme rundt internettalderen. Isteden sier han at det "
"faktum at det er vanskelig å livnære seg som artist, ikke er noe nytt. "
"<quote>Det som er nytt</quote>, skriver han i sin bok, <quote>er hvor mange "
"måter det går an å lage ting på, og hvordan man får dem inn i andre folks "
"sinn og hender</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4618
msgid "It has never been easier to think like a dandelion."
msgstr "Det har aldri vært lettere å rette tankene i løvetannens baner."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4622
msgid "Figshare"
msgstr "Figshare"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4625
msgid ""
"Figshare is a for-profit company offering an online repository where "
"researchers can preserve and share the output of their research, including "
"figures, data sets, images, and videos.  Founded in 2011 in the UK."
msgstr ""
"Figshare er et selskap som er basert på fortjeneste, og tilbyr et online "
"(nettbasert) oppbevaringssted der forskere kan bevare og dele resultatet av "
"sin forskning, inkludert tall, datasett, bilder og videoer. Grunnlagt i 2011 "
"i Storbritannia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4631
msgid "<ulink url=\"http://figshare.com\"/>"
msgstr "<ulink url=\"http://figshare.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4633
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: platform providing paid "
"services to creators"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Plattform som tilbyr "
"betalte tjenester til innholdsleverandører"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4636
msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 28, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 28. januar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4639
msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Mark Hahnel, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Mark Hahnel, grunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4647
msgid ""
"Figshare’s mission is to change the face of academic publishing through "
"improved dissemination, discoverability, and reusability of scholarly "
"research. Figshare is a repository where users can make all the output of "
"their research available—from posters and presentations to data sets and code"
"—in a way that’s easy to discover, cite, and share. Users can upload any "
"file format, which can then be previewed in a Web browser. Research output "
"is disseminated in a way that the current scholarly-publishing model does "
"not allow."
msgstr ""
"Figshares mål er å endre den vitenskapelige publiseringens fremside gjennom "
"forbedret formidling, gjenkjenning og gjenbruk av akademisk forskning. "
"Figshare er et oppbevaringssted hvor brukere kan gjøre alle resultatene av "
"sin forskning tilgjengelig – fra plakater og presentasjoner til datasett og "
"kode – på en måte som er lett å oppdage, sitere og dele. Brukerne kan laste "
"opp alle filformater, som deretter kan forhåndsvises i en nettleser.  "
"Forskningsresultater formidles på en måte som den gjeldende modellen for "
"vitenskapelig disiplinpublisering ikke tillater."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4658
msgid ""
"Figshare founder Mark Hahnel often gets asked: How do you make money? How do "
"we know you’ll be here in five years? Can you, as a for-profit venture, be "
"trusted? Answers have evolved over time."
msgstr ""
"Figshares grunnlegger, Mark Hahnel, får ofte spørsmål om hvordan han tjener "
"penger? Hvordan vet vi at du er her om fem år? Kan du, som er for "
"fortjeneste, være å stole på? Svarene har utviklet seg over tid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4663
msgid ""
"Mark traces the origins of Figshare back to when he was a graduate student "
"getting his PhD in stem cell biology. His research involved working with "
"videos of stem cells in motion. However, when he went to publish his "
"research, there was no way for him to also publish the videos, figures, "
"graphs, and data sets. This was frustrating. Mark believed publishing his "
"complete research would lead to more citations and be better for his career."
msgstr ""
"Mark sporer opprinnelsen til Figshare tilbake til da han som student skulle "
"ta sin Ph.D.-eksamen i stamcellebiologi. Hans forskning involverte å arbeide "
"med videoer av stamceller i bevegelse. Men da han skulle  publisere sin "
"forskning, var det umulig for ham å også publisere videoer, figurer, "
"diagrammer og datasett. Dette var frustrerende. Mark trodde at å publisere "
"sin forskning fullstendig, ville føre til flere sitater, og være bedre for "
"hans karrière."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4672
msgid ""
"Mark does not consider himself an advanced software programmer.  "
"Fortunately, things like cloud-based computing and wikis had become "
"mainstream, and he believed it ought to be possible to put all his research "
"online and share it with anyone. So he began working on a solution."
msgstr ""
"Mark anser seg ikke som noen avansert programmerer. Beleilig nok hadde ting "
"som skybasert regnekraft (databehandling) og wikier blitt allemannseie, og "
"han trodde det ville vært mulig å putte sitt forskningsarbeid på nett, og "
"dele det med alle. Dernest begynte han å arbeide med en løsning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4679
msgid ""
"There were two key needs: licenses to make the data citable, and persistent "
"identifiers— URL links that always point back to the original object "
"ensuring the research is citable for the long term."
msgstr ""
"Det var to nøkkelbehov: Lisensene måtte gjøre dataene mulig å sitere, samt å "
"gi dem varige identifikatorer – nettadresser som alltid peker tilbake til "
"originalobjektet for å sikre at forskningen kan siteres på lang sikt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4685
msgid ""
"Mark chose Digital Object Identifiers (DOIs) to meet the need for a "
"persistent identifier. In the DOI system, an object’s metadata is stored as "
"a series of numbers in the DOI name. Referring to an object by its DOI is "
"more stable than referring to it by its URL, because the location of an "
"object (the web page or URL) can often change. Mark partnered with DataCite "
"for the provision of DOIs for research data."
msgstr ""
"Mark valgte digitale objektidentifikatorer (DOI-er) for å møte behovet for "
"vedvarende identifikatorer. I DOI-systemet blir et objekts metadata lagret "
"som en serie nummer i DOI-navnet. Å referere til et objekt ved sitt DOI er "
"mer stabilt enn å bruke nettadressen, fordi plasseringen av et objekt "
"(nettsiden eller -adressen) ofte kan endre seg. Mark gikk i partnerskap med "
"DataCite for å tilby DOI-er for forskningsdata."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4694
msgid ""
"As for licenses, Mark chose Creative Commons. The open-access and open-"
"science communities were already using and recommending Creative Commons. "
"Based on what was happening in those communities and Mark’s dialogue with "
"peers, he went with CC0 (in the public domain) for data sets and CC BY "
"(Attribution) for figures, videos, and data sets."
msgstr ""
"Når det gjelder lisenser, valgte Mark Creative Commons. Miljøene for åpen "
"tilgang og tilsvarende forskning brukte allerede, og anbefalte Creative "
"Commons. Basert på hva som skjedde i de kretsene, og Marks samtaler med sine "
"fagfeller, gikk han for CC0 (tilsvarende offentlig eie) for datasett og CC "
"BY (Attribution) for figurer, videoer og datasett."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4702
msgid ""
"So Mark began using DOIs and Creative Commons for his own research work. He "
"had a science blog where he wrote about it and made all his data open. "
"People started commenting on his blog that they wanted to do the same. So he "
"opened it up for them to use, too."
msgstr ""
"Mark begynte å bruke DOI-er og Creative Commons for egen forskning. Han "
"hadde en vitenskapsblogg der han skrev om det, og gjorde all dataen åpen. "
"Folk startet å kommentere på bloggen hans at de ønsket å gjøre det samme. Så "
"han åpnet det opp for dem også."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4708
msgid ""
"People liked the interface and simple upload process. People started asking "
"if they could also share theses, grant proposals, and code. Inclusion of "
"code raised new licensing issues, as Creative Commons licenses are not used "
"for software. To allow the sharing of software code, Mark chose the MIT "
"license, but GNU and Apache licenses can also be used."
msgstr ""
"Folk likte grensesnittet og den enkle prosessen for å laste opp. Spørsmålene "
"kom så om hvorvidt avhandlinger, legatforespørsler og kode kunne deles. "
"Innlemming av kode bød på nye spørsmål vedrørende lisensiering, siden "
"Creative Commons-lisensene ikke brukes for programvare. For å tillate deling "
"av programvarekode, brukte Mark MIT-lisensen, men GNU- og Apache-lisenser "
"kan også brukes."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4716
msgid ""
"Mark sought investment to make this into a scalable product. After a few "
"unsuccessful funding pitches, UK-based Digital Science expressed interest "
"but insisted on a more viable business model.  They made an initial "
"investment, and together they came up with a freemium-like business model."
msgstr ""
"Mark trengte investeringer for å gjøre dette til et skalerbart produkt. "
"Etter noen mislykkede finansieringsinitiativ, viste UK-baserte Digital "
"Science interesse, men insisterte på en mer levedyktig forretningsmodell. De "
"gjorde en innledende investering, og sammen hold de følge med en freemium-"
"forretningsmodell. (Ifølge Wikipedia er freemium vanligvis en "
"forretningsmodell der en digital tjeneste eller anvendelse som programvare, "
"media, spill eller Internett-tjeneste er tilgjengelig gratis, så sant man "
"betaler for premiumfordeler, funksjonalitet eller virtuelle eiendeler.)"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4723
#, fuzzy
#| msgid ""
#| "Under the freemium model, academics upload their research to Figshare for "
#| "storage and sharing for free. Each research object is licensed with "
#| "Creative Commons and receives a DOI link. The premium option charges "
#| "researchers a fee for gigabytes of private storage space, and for private "
#| "online space designed for a set number of research collaborators, which "
#| "is ideal for larger teams and geographically dispersed research groups. "
#| "Figshare sums up its value proposition to researchers as “You retain "
#| "ownership. You license it. You get credit. We just make sure it persists.”"
msgid ""
"Under the freemium model, academics upload their research to Figshare for "
"storage and sharing for free. Each research object is licensed with Creative "
"Commons and receives a DOI link. The premium option charges researchers a "
"fee for gigabytes of private storage space, and for private online space "
"designed for a set number of research collaborators, which is ideal for "
"larger teams and geographically dispersed research groups. Figshare sums up "
"its value proposition to researchers as <quote>You retain ownership.  You "
"license it. You get credit. We just make sure it persists.</quote>"
msgstr ""
"Under freemium-modellen laster akademikere gratis opp forskningen sin til "
"Figshare for lagring og deling. Hvert forskningsobjekt er lisensiert med "
"Creative Commons, og mottar en DOI-lenke (DOI: Digital object identifier). I "
"premium-alternativet blir  forskere krevet en avgift for gigabyte med privat "
"lagringsplass, og for private nettsteder designet for et bestemt antall "
"partnere i et forskningssamarbeid, som er ideelt for større grupper og "
"geografisk spredte forskningsgrupper. Figshare oppsummerer sine verdimål for "
"forskere som <quote>Du beholder eierskap. Du lisensierer det. Du krediteres. "
"Vi sikrer bare at det varer</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4735
msgid ""
"In January 2012, Figshare was launched. (The fig in Figshare stands for "
"figures.) Using investment funds, Mark made significant improvements to "
"Figshare. For example, researchers could quickly preview their research "
"files within a browser without having to download them first or require "
"third-party software. Journals who were still largely publishing articles as "
"static noninteractive PDFs became interested in having Figshare provide that "
"functionality for them."
msgstr ""
"Figshare ble lansert i januar 2012. (Fig i Figshare står for tall.) Ved å "
"bruke investeringsfond fikk Mark til betydelige forbedringer i Figshare. For "
"eksempel kan forskere raskt forhåndsvise forskningsfilene i en nettleser "
"uten å laste dem ned først, eller forutsette en tredjeparts programvare. "
"Journaler (tidsskrifter) som fortsatt i stor grad publiserte artikler som "
"statiske ikke-interaktive PDF-filer, ble interessert i å få Figshare til å "
"gi dem denne funksjonaliteten."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4745
#, fuzzy
#| msgid ""
#| "Figshare diversified its business model to include services for journals. "
#| "Figshare began hosting large amounts of data for the journals’ online "
#| "articles. This additional data improved the quality of the articles. "
#| "Outsourcing this service to Figshare freed publishers from having to "
#| "develop this functionality as part of their own infrastructure. Figshare-"
#| "hosted data also provides a link back to the article, generating "
#| "additional click-through and readership—a benefit to both journal "
#| "publishers and researchers.  Figshare now provides research-data "
#| "infrastructure for a wide variety of publishers including Wiley, Springer "
#| "Nature, PLOS, and Taylor and Francis, to name a few, and has convinced "
#| "them to use Creative Commons licenses for the data."
msgid ""
"Figshare diversified its business model to include services for journals. "
"Figshare began hosting large amounts of data for the journals’ online "
"articles. This additional data improved the quality of the articles. "
"Outsourcing this service to Figshare freed publishers from having to develop "
"this functionality as part of their own infrastructure. Figshare-hosted data "
"also provides a link back to the article, generating additional click-"
"through and readership—a benefit to both journal publishers and "
"researchers.  Figshare now provides"
msgstr ""
"Figshare utvidet sin forretningmodell til å omfatte tjenester for "
"tidsskrifter. Figshare begynte å leie ut plass til store datamengder til "
"tidsskriftenes artikler på nettet. Disse tilleggsdataene forbedret "
"kvaliteten på artiklene. Utkontrakting (outsourcing) av denne tjenesten til "
"Figshare frigjorde tidsskrifsutgiverne fra å utvikle denne oppgaven som en "
"del av sin egen infrastruktur. Data som Figshare huser har også en link "
"tilbake til artikkelen, noe som gir flere videreklikk og lesertall – en "
"fordel både for tidsskriftsutgivere og forskere. Figshare gir nå "
"infrastruktur til forskningsdata for en rekke utgivere medregnet Wiley, "
"Springer Nature, PLOS, og Taylor og Francis, for å nevne noen, og har "
"overbevist dem om å bruke Creative Commons-lisenser for dataene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4756
msgid ""
"research-data infrastructure for a wide variety of publishers including "
"Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has "
"convinced them to use Creative Commons licenses for the data."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4762
msgid ""
"Governments allocate significant public funds to research. In parallel with "
"the launch of Figshare, governments around the world began requesting the "
"research they fund be open and accessible.  They mandated that researchers "
"and academic institutions better manage and disseminate their research "
"outputs. Institutions looking to comply with this new mandate became "
"interested in Figshare. Figshare once again diversified its business model, "
"adding services for institutions."
msgstr ""
"Regjeringer tildeler betydelige offentlige midler til forskning. Parallelt "
"med lanseringen av Figshare begynte regjeringer over hele verden å  be om at "
"forskning de finansierer,  er åpen og tilgjengelig. De påla  forskere og "
"akademiske institusjoner å administrere og spre sine forskningsresultater "
"bedre. Institusjoner som vil overholde dette nye mandatet ble interessert i "
"Figshare. Figshare har igjen diversifisert (spredt) sin forretningsmodell, "
"og lagt til tjenester for institusjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4772
msgid ""
"Figshare now offers a range of fee-based services to institutions, including "
"their own minibranded Figshare space (called Figshare for Institutions) that "
"securely hosts research data of institutions in the cloud. Services include "
"not just hosting but data metrics, data dissemination, and user-group "
"administration.  Figshare’s workflow, and the services they offer for "
"institutions, take into account the needs of librarians and administrators, "
"as well as of the researchers."
msgstr ""
"Figshare tilbyr nå en rekke avgiftsbaserte tjenester til institusjoner, "
"inkludert sin egen miniutgave av Figshare for institusjoner (kalt Figshare "
"for Institutions) som gir et sikkert rom for institusjonenes forskningsdata "
"i skyen. Tjenestene inkluderer ikke utleie av plass, men databeregninger, "
"dataformidling og administrasjon av brukergrupper. Figshares arbeidsflyt og "
"tjenestene de tilbyr for institusjoner, tar hensyn til behovene til "
"bibliotekarer og administratorer, samt av forskerne."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4782
msgid ""
"As with researchers and publishers, Fig-share encouraged institutions to "
"share their research with CC BY (Attribution) and their data with CC0 (into "
"the public domain). Funders who require researchers and institutions to use "
"open licensing believe in the social responsibilities and benefits of making "
"research accessible to all. Publishing research in this open way has come to "
"be called open access. But not all funders specify CC BY; some institutions "
"want to offer their researchers a choice, including less permissive licenses "
"like CC BY-NC (Attribution-NonCommercial), CC BY-SA (Attribution-"
"ShareAlike), or CC BY-ND (Attribution-NoDerivs)."
msgstr ""
"Som med forskere og utgivere, oppmuntret Figshare-institusjoner om å dele "
"sin forskning med CC BY  (Attribution) og data med CC0 (for offentligheten). "
"Bidagsytere som forutsetter at forskere og institusjoner bruker åpen "
"lisensiering, tror på sosialt ansvar og fordelene ved å gjøre forskning "
"tilgjengelig for alle. Å publisere forskning på denne åpne måten er kommet "
"til å bli kalt <quote>open access</quote>, åpen adgang.  Men ikke alle "
"bidragsytere spesifiserer CC BY; noen institusjoner vil tilby forskere et "
"valg, inkludert mindre liberale lisenser som CC BY-NC (Attribution-"
"NonCommercial), CC BY-SA (Attribution-ShareAlike) eller CC BY-ND "
"(Attribution-NoDerivs)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4795
msgid ""
"For Mark this created a conflict. On the one hand, the principles and "
"benefits of open science are at the heart of Figshare, and Mark believes CC "
"BY is the best license for this. On the other hand, institutions were saying "
"they wouldn’t use Figshare unless it offered a choice in licenses. He "
"initially refused to offer anything beyond CC0 and CC BY, but after seeing "
"an open-source CERN project offer all Creative Commons licenses without any "
"negative repercussions, he decided to follow suit."
msgstr ""
"For Mark skapte dette en konflikt. På den ene siden er prinsippene og "
"fordelene av åpen vitenskap i hjertet av Figshare, og Mark mener CC BY er "
"den beste lisensen for dette. På den annen side sa institusjoner at de ikke "
"ville bruke Figshare med mindre det tilbys et utvalg av lisenser. Han nektet "
"i utgangspunktet å tilby noe utover CC0 og CC BY, men etter å ha sett et "
"CERN-prosjekt med åpen kildekode tilby alle Creative Commons-lisensene uten "
"noen negative konsekvenser, bestemte han seg å følge etter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4805
msgid ""
"Mark is thinking of doing a Figshare study that tracks research "
"dissemination according to Creative Commons license, and gathering metrics "
"on views, citations, and downloads. You could see which license generates "
"the biggest impact. If the data showed that CC BY is more impactful, Mark "
"believes more and more researchers and institutions will make it their "
"license of choice."
msgstr ""
"Mark tenker på å lage en Figshare-studie, som sporer forskningsformidling "
"med Creative Commons-lisens, og samle beregninger av visninger, referanser, "
"og nedlastinger. Da kan du se hvilken lisens som genererer den største "
"effekten. Hvis data viste at CC BY er mer slagkraftig, tror Mark at flere og "
"flere forskere og institusjoner vil gjøre den til sin valgte lisens."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4818
msgid ""
"<ulink url=\"http://figshare.com/articles/"
"Journal_subscription_costs_FOIs_to_UK_universities/1186832\"/>"
msgstr ""
"<ulink url=\"http://figshare.com/articles/"
"Journal_subscription_costs_FOIs_to_UK_universities/1186832\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4821
msgid ""
"<ulink url=\"http://retr0.shinyapps.io/journal_costs/?year=2014&amp;"
"inst=19,22,38,42,59,64,80,95,136\"/>"
msgstr ""
"<ulink url=\"http://retr0.shinyapps.io/journal_costs/?year=2014&amp;"
"inst=19,22,38,42,59,64,80,95,136\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4813
msgid ""
"Figshare has an Application Programming Interface (API) that makes it "
"possible for data to be pulled from Figshare and used in other applications. "
"As an example, Mark shared a Figshare data set showing the journal "
"subscriptions that higher-education institutions in the United Kingdom paid "
"to ten major publishers.<placeholder type=\"footnote\" id=\"0\"/> Figshare’s "
"API enables that data to be pulled into an app developed by a completely "
"different researcher that converts the data into a visually interesting "
"graph, which any viewer can alter by changing any of the variables."
"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Figshare har et programmeringsgrensesnitt (API - Application Programming "
"Interface) som gjør det mulig å hente data fra Figshare, og bruke det i "
"andre programmer. Som eksempel delte Mark et Figshare-datasett som viste "
"publiseringsabonnementskostnader betalt av høyere utdanningsinstitusjoner i "
"Storbritannia til ti store publiseringsforlag.<placeholder type=\"footnote\" "
"id=\"0\"/>  Figshare sitt API muliggjør bruk av den dataen i et program av "
"en helt annen forsker, som konverterer dataen til en visuelt interessant "
"graf, hvilket enhver seer kan endre ved å endre variablene.<placeholder type="
"\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4824
msgid ""
"The free version of Figshare has built a community of academics, who through "
"word of mouth and presentations have promoted and spread awareness of "
"Figshare. To amplify and reward the community, Figshare established an "
"Advisor program, providing those who promoted Figshare with hoodies and T-"
"shirts, early access to new features, and travel expenses when they gave "
"presentations outside of their area. These Advisors also helped Mark on what "
"license to use for software code and whether to offer universities an option "
"of using Creative Commons licenses."
msgstr ""
"Gratisversjonen av Figshare har medført et fellesskap av akademikere, som "
"ved jungeltelegrafen og presentasjoner har formidlet og spredt forståelse "
"for Figshare. For å forsterke og belønne fellesskapet etablerte Figshare et "
"Advisor-program (rådgiverprogram), gir dem som spredte Figshare med "
"hettegensere og T-skjorter, tidlig tilgang til nye funksjoner, og "
"reiseutgifter, når de innledet om programmet utenfor sitt område. Disse "
"rådgiverne hjalp også Mark med hvilken lisens som var aktuell til "
"programvarekoder, og om universiteter skulle tilbys muligheten til å bruke "
"Creative Commons-lisenser."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4839
msgid "<ulink url=\"http://figshare.com/features\"/>"
msgstr "<ulink url=\"http://figshare.com/features\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4835
msgid ""
"Mark says his success is partly about being in the right place at the right "
"time. He also believes that the diversification of Figshare’s model over "
"time has been key to success. Figshare now offers a comprehensive set of "
"services to researchers, publishers, and institutions.<placeholder type="
"\"footnote\" id=\"0\"/> If he had relied solely on revenue from premium "
"subscriptions, he believes Figshare would have struggled. In Figshare’s "
"early days, their primary users were early-career and late-career academics. "
"It has only been because funders mandated open licensing that Figshare is "
"now being used by the mainstream."
msgstr ""
"Mark sier at suksessen handler delvis om å være på rett sted til rett tid. "
"Han tror også at oppdelingen av Figshare sin modell over tid har vært "
"nøkkelen til suksess. Figshare tilbyr nå et helhetlig tjenestetilbud til "
"forskere, forleggere, og institusjoner.<placeholder type=\"footnote\" id="
"\"0\"/> Hvis han hadde begrenset seg til inntjening fra <quote>premium</"
"quote>-abonnementer, tror han det ville blitt vanskelig for Figshare.Til å "
"begynne med var deres hovedbrukere akademikere i starten og slutten av "
"karrièren. Det har kun vært fordi kronerullerne krevde åpen lisensiering at "
"Figshare nå brukes av allmenningen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4846
msgid ""
"Today Figshare has 26 million–plus page views, 7.5 million–plus downloads, "
"800,000–plus user uploads, 2 million–plus articles, 500,000-plus "
"collections, and 5,000–plus projects. Sixty percent of their traffic comes "
"from Google. A sister company called Altmetric tracks the use of Figshare by "
"others, including Wikipedia and news sources."
msgstr ""
"I dag har Figshare over 26 millioner sidevisninger, over 7.5 millioner "
"nedlastninger, over 800 000 opplastninger fra brukere, over 2 millioner "
"artikler, over 500 000 samlinger, og over 5000 prosjekter. 60 prosent av "
"trafikken deres kommer fra Google. Et søsterselskap kalt Altmetric sporer "
"bruken av Figshare av andre, inkludert Wikipedia og nyhetskilder."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4854
msgid ""
"Figshare uses the revenue it generates from the premium subscribers, journal "
"publishers, and institutions to fund and expand what it can offer to "
"researchers for free. Figshare has publicly stuck to its principles—keeping "
"the free service free and requiring the use of CC BY and CC0 from the start—"
"and from Mark’s perspective, this is why people trust Figshare. Mark sees "
"new competitors coming forward who are just in it for money. If Figshare was "
"only in it for the money, they wouldn’t care about offering a free version. "
"Figshare’s principles and advocacy for openness are a key differentiator. "
"Going forward, Mark sees Figshare not only as supporting open access to "
"research but also enabling people to collaborate and make new discoveries."
msgstr ""
"Figshare bruker inntektene de genererer fra sine premium-abonnenter, "
"tidsskriftsutgivere og institusjoner til å finansiere og utvide det de kan "
"tilby til forskere gratis. Figshare har offentlig holdt seg til sine "
"prinsipper,  ved å holde den gratis tjenesten gratis, og kreve bruk av CC BY "
"og CC0 fra begynnelsen. Fra Marks perspektiv er det derfor folk stoler på "
"Figshare. Mark ser nye konkurrenter som vokser frem, og bare er der for "
"pengenes skyld. Hvis Figshare bare var der for pengene, ville de ikke bry "
"seg om å tilby en gratis versjon. Figshares prinsipper, og forsvar for "
"åpenhet, er en viktig faktor. Ser en fremover, mener  Mark at Figshare ikke "
"bare er en støtte for åpen tilgang til forskning, men at den gjør folk i "
"stand til å samarbeide og gjøre nye funn."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4869
msgid "Figure.NZ"
msgstr "Figure.NZ"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4872
msgid ""
"Figure.NZ is a nonprofit charity that makes an online data platform designed "
"to make data reusable and easy to understand.  Founded in 2012 in New "
"Zealand."
msgstr ""
"Figure.NZ er en veldedig bistandsorganisasjon som lager en nettbasert "
"dataplattform myntet på å gjøre data gjenbrukbar og enkel å forstå seg på."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4877
msgid "<ulink url=\"http://figure.nz\"/>"
msgstr "<ulink url=\"http://figure.nz\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4879
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: platform providing paid "
"services to creators, donations, sponsorships"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Plattform som tilbyr "
"betalte tjenester til skapere, bidragsytere, sponsing"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4882
msgid "<emphasis role=\"strong\">Interview date</emphasis>: May 3, 2016"
msgstr "<emphasis role=\"strong\">Dato for intervju</emphasis>: 3. mai 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4884
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Lillian Grace, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Lillian Grace, grunnlegger"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4893
msgid ""
"<ulink url=\"http://www.nzdatafutures.org.nz/sites/default/files/"
"NZDFF_harness-the-power.pdf\"/>"
msgstr ""
"<ulink url=\"http://www.nzdatafutures.org.nz/sites/default/files/"
"NZDFF_harness-the-power.pdf\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4892
msgid ""
"In the paper Harnessing the Economic and Social Power of Data presented at "
"the New Zealand Data Futures Forum in 2014,<placeholder type=\"footnote\" id="
"\"0\"/> Figure.NZ founder Lillian Grace said there are thousands of valuable "
"and relevant data sets freely available to us right now, but most people "
"don’t use them. She used to think this meant people didn’t care about being "
"informed, but she’s come to see that she was wrong. Almost everyone wants to "
"be informed about issues that matter—not only to them, but also to their "
"families, their communities, their businesses, and their country.  But "
"there’s a big difference between availability and accessibility of "
"information. Data is spread across thousands of sites and is held within "
"databases and spreadsheets that require both time and skill to engage with. "
"To use data when making a decision, you have to know what specific question "
"to ask, identify a source that has collected the data, and manipulate "
"complex tools to extract and visualize the information within the data set.  "
"Lillian established Figure.NZ to make data truly accessible to all, with a "
"specific focus on New Zealand."
msgstr ""
"I forskningsartikkelen <quote>Harnessing the Economic and Social Power of "
"Data</quote>, presentert på New Zealand Data Futures Forum i 2014,"
"<placeholder type=\"footnote\" id=\"0\"/> sa Figure.NZ sin grunnlegger "
"Lillian Grace at det er  tusenvis av verdifulle og relevante datasett fritt "
"tilgjengelige for oss akkurat nå, men de fleste bruker dem ikke.  Hun tenkte "
"gjerne at dette betydde at folk ikke bryr seg om å være informert, men etter "
"hvert har hun kommet til at hun tok feil. Nesten alle ønsker å bli informert "
"om saker som betyr noe – ikke bare for dem, men også for deres familier, "
"deres lokalsamfunn, deres  virksomheter og landet deres. Men det er stor "
"forskjell mellom tilgangen og tilgjengeligheten på informasjon. Data er "
"spredt over tusenvis av nettsteder, og ligger i databaser og regneark som "
"det krever både tid og dyktighet å sette seg inn i. For å bruke data når det "
"skal tas en beslutning, må du vite hvilket spesifikt spørsmål du skal "
"stille, identifisere en kilde som har samlet inn dataene, og håndtere "
"komplekse verktøy for å trekke ut og vise frem informasjonen i datasettet. "
"Lillian etablerte Figure.NZ for å gjøre data virkelig tilgjengelig for alle, "
"med spesielt fokus på New Zealand."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4911
#, fuzzy
#| msgid ""
#| "Lillian had the idea for Figure.NZ in February 2012 while working for the "
#| "New Zealand Institute, a think tank concerned with improving economic "
#| "prosperity, social well-being, environmental quality, and environmental "
#| "productivity for New Zealand and New Zealanders. While giving talks to "
#| "community and business groups, Lillian realized “every single issue we "
#| "addressed would have been easier to deal with if more people understood "
#| "the basic facts.” But understanding the basic facts sometimes requires "
#| "data and research that you often have to pay for."
msgid ""
"Lillian had the idea for Figure.NZ in February 2012 while working for the "
"New Zealand Institute, a think tank concerned with improving economic "
"prosperity, social well-being, environmental quality, and environmental "
"productivity for New Zealand and New Zealanders. While giving talks to "
"community and business groups, Lillian realized <quote>every single issue we "
"addressed would have been easier to deal with if more people understood the "
"basic facts.</quote> But understanding the basic facts sometimes requires "
"data and research that you often have to pay for."
msgstr ""
"Lillian fikk ideen til Figure.NZ i februar 2012 mens hun jobbet for New "
"Zealand Institute, en tenketank som var opptatt av bedret økonomisk "
"velstand, sosial velferd, miljøkvaliteten og produktivitet for New Zealand "
"og for nyzealendere. Når hun holdt foredrag i lokalsamfunn og for "
"næringsdrivende, innså Lillian <quote>hvert eneste problem vi behandlet "
"ville vært lettere å håndtere hvis flere hadde forstått de grunnleggende "
"fakta</quote>. Men for å kunne forstå grunnleggende fakta kreves noen ganger "
"data og forskning du ofte må betale for."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4922
msgid ""
"Lillian began to imagine a website that lifted data up to a visual form that "
"could be easily understood and freely accessed.  Initially launched as Wiki "
"New Zealand, the original idea was that people could contribute their data "
"and visuals via a wiki.  However, few people had graphs that could be used "
"and shared, and there were no standards or consistency around the data and "
"the visuals. Realizing the wiki model wasn’t working, Lillian brought the "
"process of data aggregation, curation, and visual presentation in-house, and "
"invested in the technology to help automate some of it. Wiki New Zealand "
"became Figure.NZ, and efforts were reoriented toward providing services to "
"those wanting to open their data and present it visually."
msgstr ""
"Lillian begynte å forestille seg  et nettsted som løftet frem data til "
"visuell form som kunne lett forstås, og som var fritt tilgjengelig. Det ble "
"innledningsvis lansert som Wiki New Zealand, da den opprinnelige ideen var "
"at folk kunne bidra med sine data og bilder via en wiki. Men få personer "
"hadde grafer som kunne brukes og deles, og det var ingen standarder eller "
"sammenheng mellom dataene og det visuelle. Da Lillian innså at wiki-modellen "
"ikke fungerte, tok hun prosessen med data aggregering, konservering og "
"visuell presentasjon hjem, og investerte i teknologien for å automatisere "
"noe av det. Wiki New Zealand ble Figure.NZ, og innsatsen ble snudd mot å gi "
"tjenester til dem som ønsker å åpne sine data, og presentere dem visuelt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4936
msgid ""
"Here’s how it works. Figure.NZ sources data from other organizations, "
"including corporations, public repositories, government departments, and "
"academics. Figure.NZ imports and extracts that data, and then validates and "
"standardizes it—all with a strong eye on what will be best for users. They "
"then make the data available in a series of standardized forms, both human- "
"and machine-readable, with rich metadata about the sources, the licenses, "
"and data types. Figure.NZ has a chart-designing tool that makes simple bar, "
"line, and area graphs from any data source.  The graphs are posted to the "
"Figure.NZ website, and they can also be exported in a variety of formats for "
"print or online use.  Figure.NZ makes its data and graphs available using "
"the Attribution (CC BY) license. This allows others to reuse, revise, remix, "
"and redistribute Figure.NZ data and graphs as long as they give attribution "
"to the original source and to Figure.NZ."
msgstr ""
"Hvordan fungerer det? Figure.NZ datakilder fra andre organisasjoner, "
"inkludert bedrifter, offentlige dataarkiv, etater og akademikere. Figure.NZ "
"importerer og ekstraherer data, og deretter validerer og standardiserer det "
"– med et klart øye for hva som vil være best for brukere. Deretter gjør de "
"data tilgjengelige med en rekke standardiserte skjemaer, lesbare både for "
"mennesker og maskiner, og med innholdsinformasjon om kildene, lisensene og "
"typer data. Figure.NZ har et diagramdesignverktøy som lager enkel strek-, "
"linje-, og område-grafikk fra en hvilken som helst datakilde. Grafene "
"posteres til Figure.NZ sitt nettområde, og de kan også eksporteres i en "
"rekke formater for utskrift eller til Internett-bruk. Figure.NZ gjør sine "
"data og grafer tilgjengelige med Attribution (CC BY) lisenser. Dette gjør at "
"andre kan bruke, endre, remikse og distribuere Figure.NZ-data og -grafer så "
"lenge de henviser til den opprinnelige kilden og Figure.NZ."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4962
msgid ""
"<ulink url=\"http://www.ict.govt.nz/guidance-and-resources/open-government/"
"new-zealand-government-open-access-and-licensing-nzgoal-framework/\"/>"
msgstr ""
"<ulink url=\"http://www.ict.govt.nz/guidance-and-resources/open-government/"
"new-zealand-government-open-access-and-licensing-nzgoal-framework/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4953
msgid ""
"Lillian characterizes the initial decision to use Creative Commons as "
"naively fortunate. It was first recommended to her by a colleague. Lillian "
"spent time looking at what Creative Commons offered and thought it looked "
"good, was clear, and made common sense. It was easy to use and easy for "
"others to understand. Over time, she’s come to realize just how fortunate "
"and important that decision turned out to be. New Zealand’s government has "
"an open-access and licensing framework called NZGOAL, which provides "
"guidance for agencies when they release copyrighted and noncopyrighted work "
"and material.<placeholder type=\"footnote\" id=\"0\"/> It aims to "
"standardize the licensing of works with government copyright and how they "
"can be reused, and it does this with Creative Commons licenses. As a result, "
"98 percent of all government-agency data is Creative Commons licensed, "
"fitting in nicely with Figure.NZ’s decision."
msgstr ""
"Lillian karakteriserer avgjørelsen om å bruke Creative Commons som et naivt "
"hell. Det ble først anbefalt henne av en kollega. Lillian brukte tid til å "
"se på hva Creative Commons tilbyr, og syntes det så bra ut, var klart, og "
"appellerte til sunn fornuft. Det var lett å bruke, og enkelt for andre å "
"forstå. Over tid har hun innsett hvor heldig og viktig denne beslutningen "
"viste seg å bli. New Zealands regjeringen har en åpen tilgang og et "
"lisensieringsrammeverk kalt NZGOAL, som gir veiledning for etater og organer "
"når de legger ut opphavsrettsbeskyttet og ikke-opphavsrettsbeskyttet arbeid "
"og materiale.<placeholder type=\"footnote\" id=\"0\"/> Målet er å "
"standardisere lisensiering av arbeid regjeringen har opphavsrett til, og "
"hvordan det kan gjenbrukes igjen, og det gjør den med Creative Commons-"
"lisenser. Som et resultat er 98 prosent av alle forvaltningsorganers data "
"Creative Commons-lisensiert, noe som passer fint til Figure.NZs beslutning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4969
msgid ""
"Lillian thinks current ideas of what a business is are relatively new, only "
"a hundred years old or so. She’s convinced that twenty years from now, we "
"will see new and different models for business.  Figure.NZ is set up as a "
"nonprofit charity. It is purpose-driven but also strives to pay people well "
"and thinks like a business.  Lillian sees the charity-nonprofit status as an "
"essential element for the mission and purpose of Figure.NZ. She believes "
"Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s "
"nonprofit status assures people who have data and people who want to use it "
"that they can rely on Figure.NZ’s motives. People see them as a trusted "
"wrangler and source."
msgstr ""
"Lillian mener gjeldende ideer om hva som er en bedrift er relativt nye, bare "
"hundre år eller så. Hun er overbevist om at 20 år fra nå, vil vi se nye og "
"ulike modeller for forretningsforetak. Figure.NZ er definert som en veldedig "
"stiftelse. Den er formålsdrevet, men bestreber seg også å betale folk godt, "
"og tenke som en bedrift. Lillian ser veldedig status som grunnleggende "
"forutsetning for hensikten og formålet med Figure.NZ. Hun tror Wikipedia "
"ikke ville fungert hvis det skulle drives for fortjenesten, og tilsvarende, "
"Figure.NZs ideelle status sikrer at folk som har data, og folk som ønsker å "
"bruke dem, at de kan stole på motivene til Figure.NZ. Folk ser dem som "
"vokter og pålitelig kilde."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4982
msgid ""
"Although Figure.NZ is a social enterprise that openly licenses their data "
"and graphs for everyone to use for free, they have taken care not to be "
"perceived as a free service all around the table. Lillian believes hundreds "
"of millions of dollars are spent by the government and organizations to "
"collect data. However, very little money is spent on taking that data and "
"making it accessible, understandable, and useful for decision making.  "
"Government uses some of the data for policy, but Lillian believes that it is "
"underutilized and the potential value is much larger.  Figure.NZ is focused "
"on solving that problem. They believe a portion of money allocated to "
"collecting data should go into making sure that data is useful and generates "
"value. If the government wants citizens to understand why certain decisions "
"are being made and to be more aware about what the government is doing, why "
"not transform the data it collects into easily understood visuals? It could "
"even become a way for a government or any organization to differentiate, "
"market, and brand itself."
msgstr ""
"Selv om Figure.NZ er en sosial geskjeft hvis data og diagrammer er "
"lisensiert gratis i allmennhetens tjeneste, har de gjort seg flid i å ikke "
"bli ansett som en gratistjeneste viden rundt. Lillian tror hundrevis av "
"millioner dollar brukes av myndigheter og organisasjoner for å samle data. "
"Imidlertid blir veldig lite penger brukt på å gjøre den tilgjengelig, "
"forståelig og nyttig i beslutningsøyemed. Myndigheter bruker noe av dataen "
"for å forme praksis, Lillian tror dog om dette at det er nyttet i for liten "
"grad, og at den potensielle verdien er mye høyere. Figure.NZ fokuserer på å "
"løse dette problemet. De tror at en andel av pengene avsatt til innsamling "
"av data, bør gå til det formål å gjøre den nyttig og verdiskapende. Hvis "
"myndighetene ønsker borgernes forståelse for hvorfor gitte beslutninger tas, "
"og bli mer oppmerksomme på hva de driver med, hvorfor ikke forvandle "
"innsamlet data til forståelig grafikk? Det kan sågar være en måte for "
"myndighetene, eller enhver organisasjon, å finne sin posisjon i markedet, "
"gjøre seg forskjellig, og knytte sin merkevare til det hele."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5001
msgid ""
"Figure.NZ spends a lot of time seeking to understand the motivations of data "
"collectors and to identify the channels where it can provide value. Every "
"part of their business model has been focused on who is going to get value "
"from the data and visuals."
msgstr ""
"Figure.NZ bruker mye tid på å forsøke å forstå motivasjonen til de som "
"samler inn data, og for å identifisere kanalene der de kan gi verdi.  Hver "
"eneste del av forretningsmodellen har vært fokusert på hvem som kommer til å "
"få verdi fra dataene og de visuelle fremstillingene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5007
msgid ""
"Figure.NZ has multiple lines of business. They provide commercial services "
"to organizations that want their data publicly available and want to use "
"Figure.NZ as their publishing platform. People who want to publish open data "
"appreciate Figure.NZ’s ability to do it faster, more easily, and better than "
"they can. Customers are encouraged to help their users find, use, and make "
"things from the data they make available on Figure.NZ’s website. Customers "
"control what is released and the license terms (although Figure.NZ "
"encourages Creative Commons licensing). Figure.NZ also serves customers who "
"want a specific collection of charts created—for example, for their website "
"or annual report. Charging the organizations that want to make their data "
"available enables Figure.NZ to provide their site free to all users, to "
"truly democratize data."
msgstr ""
"Økonomisk sett arbeider Figure.NZ flere veier. De gir kommersielle tjenester "
"til organisasjoner som vil gjøre sine data tilgjengelige offentlig, ved bruk "
"av Figure.NZ som publiseringsplattform. Folk som ønsker å publisere åpent, "
"setter pris på Figure.NZs evne til å gjøre det raskere, enklere, og bedre "
"enn de kan selv. Kunder oppfordres til å hjelpe sine brukere med å  finne, "
"bruke og gjøre ting med dataene some tilgjengeliggjøres på Figure.NZs "
"nettsted. Kundene kontrollerer hva som blir lagt ut, og lisensbetingelsene "
"(selv om Figure.NZ anbefaler Creative Commons-lisensen). Figure.NZ betjener "
"også brukere som ønsker at en bestemt ansamling diagrammer, for eksempel til "
"deres hjemmeside eller årsrapport. Å ta betaling av organisasjoner som vil "
"gjøre sine data tilgjengelige, gjør det mulig for Figure.NZ å gjøre sitt "
"nettsted gratis for alle brukere, og virkelig demokratisere data."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5023
#, fuzzy
#| msgid ""
#| "Lillian notes that the current state of most data is terrible and often "
#| "not well understood by the people who have it. This sometimes makes it "
#| "difficult for customers and Figure.NZ to figure out what it would cost to "
#| "import, standardize, and display that data in a useful way. To deal with "
#| "this, Figure.NZ uses “high-trust contracts,” where customers allocate a "
#| "certain budget to the task that Figure.NZ is then free to draw from, as "
#| "long as Figure.NZ frequently reports on what they’ve produced so the "
#| "customer can determine the value for money. This strategy has helped "
#| "build trust and transparency about the level of effort associated with "
#| "doing work that has never been done before."
msgid ""
"Lillian notes that the current state of most data is terrible and often not "
"well understood by the people who have it. This sometimes makes it difficult "
"for customers and Figure.NZ to figure out what it would cost to import, "
"standardize, and display that data in a useful way. To deal with this, "
"Figure.NZ uses <quote>high-trust contracts,</quote> where customers allocate "
"a certain budget to the task that Figure.NZ is then free to draw from, as "
"long as Figure.NZ frequently reports on what they’ve produced so the "
"customer can determine the value for money. This strategy has helped build "
"trust and transparency about the level of effort associated with doing work "
"that has never been done before."
msgstr ""
"Lillian gjør seg den merknaden at tilstanden på det meste av data er lite å "
"se til, og ikke godt forstått av dem som har dem. Dette gjør det noen ganger "
"vanskelig for kunder og Figure.NZ å skjønne hva det koster å importere, "
"standardisere og vise dataen på en formålstjenlig måte. For å hanskes med "
"dette bruker Figure.NZ <quote>høytillitskontrakter</quote>, der kunder avser "
"en viss del av budsjettet sitt til oppgaven som Figure.NZ så fritt "
"disponerer, så lenge de rapporterer flittig om hva de har produsert, slik at "
"kunden ser nytteverdien. Strategien har hjulpet til med å bygge tillit og "
"åpenhet om hvilke ressurser som må til for å gjennomføre arbeid som aldri "
"har blitt gjort før."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5042
msgid "<ulink url=\"http://figure.nz/business/\"/>"
msgstr "<ulink url=\"http://figure.nz/business/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5037
msgid ""
"A second line of business is what Figure.NZ calls partners. ASB Bank and "
"Statistics New Zealand are partners who back Figure.NZ’s efforts. As one "
"example, with their support Figure.NZ has been able to create Business "
"Figures, a special way for businesses to find useful data without having to "
"know what questions to ask.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Et annet forretningsområde for Figure.NZ er det Figure.NZ kaller partnere. "
"ASB BANK og Statistics New Zealand er partnere som støtter det Figure.NZ "
"gjør. Som ett eksempel kan det nevnes at deres støtte har gjort Figure.NZ i "
"stand til å opprette Business Figures, en spesiell måte for selskaper å "
"finne nyttige data uten å måtte vite hvilke spørsmål de skal stille."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5045
msgid "<ulink url=\"http://figure.nz/patrons/\"/>"
msgstr "<ulink url=\"http://figure.nz/patrons/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5045
msgid ""
"Figure.NZ also has patrons.<placeholder type=\"footnote\" id=\"0\"/> Patrons "
"donate to topic areas they care about, directly enabling Figure.NZ to get "
"data together to flesh out those areas. Patrons do not direct what data is "
"included or excluded."
msgstr ""
"Figure.NZ har også faste bidragsytere.<placeholder type=\"footnote\" id="
"\"0\"/>  De donerer til formål de bryr seg om, noe som gjør Figure.NZ "
"direkte i stand til å samle data på akkurat disse områdene. Givere har ikke "
"innvirkning på hva som tas med eller ekskluderes."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5051
msgid ""
"Figure.NZ also accepts philanthropic donations, which are used to provide "
"more content, extend technology, and improve services, or are targeted to "
"fund a specific effort or provide in-kind support.  As a charity, donations "
"are tax deductible."
msgstr ""
"Figure.NZ godtar også filantropiske donasjoner, som brukes til å tilby mer "
"innhold, gjøre mer bruk av teknologi, forbedre tjenester, eller hvis mål er "
"å byttehandle støttefunksjoner. Som en veldedig operasjon, er donasjoner "
"skattefritatt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5057
msgid ""
"Figure.NZ has morphed and grown over time. With data aggregation, curation, "
"and visualizing services all in-house, Figure.NZ has developed a deep "
"expertise in taking random styles of data, standardizing it, and making it "
"useful. Lillian realized that Figure.NZ could easily become a warehouse of "
"seventy people doing data. But for Lillian, growth isn’t always good. In her "
"view, bigger often means less effective. Lillian set artificial constraints "
"on growth, forcing the organization to think differently and be more "
"efficient. Rather than in-house growth, they are growing and building "
"external relationships."
msgstr ""
"Figure.NZ har fått ny form og størrelse med tiden. Med datainnsamling og "
"utrenskning av data, i visuell tjeneste, alt innomhus, har man utviklet "
"dyptgående ekspertise i å standardisere tilfeldige datastiler, for å gjøre "
"dem nyttige. Lillian skjønte at Figure.NZ enkelt kunne bli et varehus for "
"sytti mennesker som gjør data. Hun synes vekst ikke nødvendigvis er bra. "
"Størrelse går ofte ut over effektivitet. Lillian setter  kunstige "
"begrensninger for vekst, tvinger organisasjonen til å tenke annerledes, og "
"bli mer effektiv. Snarere enn vekst innomhus, vokser de og bygger opp "
"eksterne tilknytninger."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5069
msgid ""
"Figure.NZ’s website displays visuals and data associated with a wide range "
"of categories including crime, economy, education, employment, energy, "
"environment, health, information and communications technology, industry, "
"tourism, and many others. A search function helps users find tables and "
"graphs. Figure.NZ does not provide analysis or interpretation of the data or "
"visuals.  Their goal is to teach people how to think, not think for them.  "
"Figure.NZ wants to create intuitive experiences, not user manuals."
msgstr ""
"Nettsiden til Figure.NZ viser grafikk og data fra en rekke kategorier, "
"inkludert kriminalitet, økonomi, utdanning, sysselsetting, energi, miljø, "
"helse, informasjon og kommunikasjonsteknologi, industri, turisme og mange "
"andre. En søkefunksjon hjelper brukere å finne tabeller og grafer. Figure.NZ "
"utøver ikke analyse eller tolkning av data eller bilder. Deres mål er å lære "
"folk å tenke, ikke å tenke for dem. Figure.NZ ønsker å skape intuitive "
"opplevelser, ikke brukermanualer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5079
msgid ""
"Figure.NZ believes data and visuals should be useful. They provide their "
"customers with a data collection template and teach them why it’s important "
"and how to use it. They’ve begun putting more emphasis on tracking what "
"users of their website want. They also get requests from social media and "
"through email for them to share data for a specific topic—for example, can "
"you share data for water quality? If they have the data, they respond "
"quickly; if they don’t, they try and identify the organizations that would "
"have that data and forge a relationship so they can be included on Figure."
"NZ’s site. Overall, Figure.NZ is seeking to provide a place for people to be "
"curious about, access, and interpret data on topics they are interested in."
msgstr ""
"Figure.NZ mener at data og bilder skal være nyttige. De gir sine kunder en "
"mal for samling av data, og lærer dem hvorfor det er viktig, og hvordan den "
"brukes. De har begynt å legge mer vekt på å spore hva brukerne av deres "
"nettsted vil. De får også forespørsler fra sosiale medier og via e-post om å "
"dele data om et bestemt emne, for eksempel <quote>kan du dele dataene for "
"vannkvalitet</quote>? Hvis de har data, reagerer de raskt; hvis ikke, prøver "
"de å identifisere organisasjonene som kan ha dem, og bygger en bro slik at "
"dataene kan legges inn på Figure.NZ sitt nettsted. Samlet sett søker Figure."
"NZ å være et sted for folk der de kan være nysgjerrige, og ha tilgang til å "
"tolke data om emnene de er interessert i."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5093
#, fuzzy
#| msgid ""
#| "Lillian has a deep and profound vision for Figure.NZ that goes well "
#| "beyond simply providing open-data services. She says things are different "
#| "now. “We used to live in a world where it was really hard to share "
#| "information widely. And in that world, the best future was created by "
#| "having a few great leaders who essentially had access to the information "
#| "and made decisions on behalf of others, whether it was on behalf of a "
#| "country or companies."
msgid ""
"Lillian has a deep and profound vision for Figure.NZ that goes well beyond "
"simply providing open-data services. She says things are different now. \"We "
"used to live in a world where it was really hard to share information "
"widely. And in that world, the best future was created by having a few great "
"leaders who essentially had access to the information and made decisions on "
"behalf of others, whether it was on behalf of a country or companies."
msgstr ""
"Lillian har en dyp og kløktig visjon for Figure.NZ som langt overgår bare "
"det å sørge for åpne datatjenester. Hun sier ting er annerledes nå. "
"<quote>Vi pleide å leve i en verden hvor det var veldig vanskelig å nå ut "
"med informasjon. I den verdenen lå de beste framtidsutsiktene i å ha store "
"ledere som ved å ha tilgang til informasjon kunne treffe beslutninger på "
"vegne av andre, om det så var på vegne av et land eller selskaper.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5103
#, fuzzy
#| msgid ""
#| "“But now we live in a world where it’s really easy to share information "
#| "widely and also to communicate widely. In the world we live in now, the "
#| "best future is the one where everyone can make well-informed decisions."
msgid ""
"\"But now we live in a world where it’s really easy to share information "
"widely and also to communicate widely. In the world we live in now, the best "
"future is the one where everyone can make well-informed decisions."
msgstr ""
"<quote>Men nå lever vi i en verden der det er enkelt å dele informasjon og "
"kommunisere viden rundt. Fremtiden vi går i møte i den verdenen vi er i nå, "
"er best tjent med at alle kan ta gode beslutninger basert på god "
"informasjon</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5109
#, fuzzy
#| msgid ""
#| "“The use of numbers and data as a way of making well-informed decisions "
#| "is one of the areas where there is the biggest gaps. We don’t really use "
#| "numbers as a part of our thinking and part of our understanding yet."
msgid ""
"\"The use of numbers and data as a way of making well-informed decisions is "
"one of the areas where there is the biggest gaps. We don’t really use "
"numbers as a part of our thinking and part of our understanding yet."
msgstr ""
"<quote>Bruk av tall og data til å fatte gode beslutninger basert på god "
"informasjon er et av områdene der manglene er størst. Vi bruker virkelig "
"ikke tall som en del av vår tenkning og forståelse ennå</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5115
#, fuzzy
#| msgid ""
#| "“Part of the reason is the way data is spread across hundreds of sites. "
#| "In addition, for the most part, deep thinking based on data is "
#| "constrained to experts because most people don’t have data literacy. "
#| "There once was a time when many citizens in society couldn’t read or "
#| "write. However, as a society, we’ve now come to believe that reading and "
#| "writing skills should be something all citizens have. We haven’t yet "
#| "adopted a similar belief around numbers and data literacy. We largely "
#| "still believe that only a few specially trained people can analyze and "
#| "think with numbers."
msgid ""
"\"Part of the reason is the way data is spread across hundreds of sites. In "
"addition, for the most part, deep thinking based on data is constrained to "
"experts because most people don’t have data literacy. There once was a time "
"when many citizens in society couldn’t read or write. However, as a society, "
"we’ve now come to believe that reading and writing skills should be "
"something all citizens have. We haven’t yet adopted a similar belief around "
"numbers and data literacy. We largely still believe that only a few "
"specially trained people can analyze and think with numbers."
msgstr ""
"<quote>En del av årsaken er at dataene er spredt på hundrevis av steder. I "
"tillegg, for det meste, er dyp tenkning basert på data forbeholdt eksperter, "
"fordi folk flest ikke har dataferdigheter. Det var en gang en tid da mange "
"innbyggere i samfunnet ikke kunne lese eller skrive. Men som samfunn, er  vi "
"nå kommet dit hen at lese- og skriveferdigheter bør være allemannseie. Vi "
"har ennå ikke adoptert en lignende forutsetning for tall og ferdigheter "
"vedrørende data. Vi tror fortsatt at kun noen få spesialutdannede mennesker "
"kan analysere og tenke med tall</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5126
#, fuzzy
#| msgid ""
#| "“Figure.NZ may be the first organization to assert that everyone can use "
#| "numbers in their thinking, and it’s built a technological platform along "
#| "with trust and a network of relationships to make that possible. What you "
#| "can see on Figure.NZ are tens of thousands of graphs, maps, and data."
msgid ""
"\"Figure.NZ may be the first organization to assert that everyone can use "
"numbers in their thinking, and it’s built a technological platform along "
"with trust and a network of relationships to make that possible. What you "
"can see on Figure.NZ are tens of thousands of graphs, maps, and data."
msgstr ""
"<quote>Figure.NZ er muligens den første organisasjonen som hevder at alle "
"kan bruke tall i sin tenkning, og har bygget en teknologisk plattform på "
"tillit og et nettverk av relasjoner for muliggjøring av dette. Det som er å "
"se på Figure.NZ er titusenvis av grafer, kart og data</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5133
#, fuzzy
#| msgid ""
#| "“Figure.NZ sees this as a new kind of alphabet that can help people "
#| "analyze what they see around them. A way to be thoughtful and informed "
#| "about society. A means of engaging in conversation and shaping decision "
#| "making that transcends personal experience.  The long-term value and "
#| "impact is almost impossible to measure, but the goal is to help citizens "
#| "gain understanding and work together in more informed ways to shape the "
#| "future.”"
msgid ""
"<quote>Figure.NZ sees this as a new kind of alphabet that can help people "
"analyze what they see around them. A way to be thoughtful and informed about "
"society. A means of engaging in conversation and shaping decision making "
"that transcends personal experience.  The long-term value and impact is "
"almost impossible to measure, but the goal is to help citizens gain "
"understanding and work together in more informed ways to shape the future.</"
"quote>"
msgstr ""
"<quote>Figure.NZ ser dette som et slags nytt alfabet som kan hjelpe folk å "
"analysere det de ser rundt seg. En måte å reflektere omkring "
"samfunnsinformasjon. Et middel til å delta i samtaler som former "
"beslutningsprosesser som overskrider den personlige erfaringen. Den "
"langsiktige verdien og effekten lar seg vanskelig måle, men målet er å "
"hjelpe borgeres forståelse og samarbeid på mer opplyste måter for å forme "
"fremtiden</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5142
#, fuzzy
#| msgid ""
#| "Lillian sees Figure.NZ’s model as having global potential. But for now, "
#| "their focus is completely on making Figure.NZ work in New Zealand and to "
#| "get the “network effect”— users dramatically increasing value for "
#| "themselves and for others through use of their service. Creative Commons "
#| "is core to making the network effect possible."
msgid ""
"Lillian sees Figure.NZ’s model as having global potential. But for now, "
"their focus is completely on making Figure.NZ work in New Zealand and to get "
"the <quote>network effect</quote>—"
msgstr ""
"Lillian ser Figure.NZs modell i lys av å ha et globalt potensiale. Uansett "
"er deres fokus nå fullt ut utførelsen av Figure.NZs arbeid i New Zealand, og "
"realiseringen av <quote>nettverkseffekten</quote> – at brukere dramatisk "
"øker egen og andres nytteverdi ved bruk av tjenesten. Creative Commons er "
"kjernen som gjør denne nettverkseffekten mulig."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5147
#, fuzzy
#| msgid ""
#| "Lillian sees Figure.NZ’s model as having global potential. But for now, "
#| "their focus is completely on making Figure.NZ work in New Zealand and to "
#| "get the “network effect”— users dramatically increasing value for "
#| "themselves and for others through use of their service. Creative Commons "
#| "is core to making the network effect possible."
msgid ""
"users dramatically increasing value for themselves and for others through "
"use of their service. Creative Commons is core to making the network effect "
"possible."
msgstr ""
"Lillian ser Figure.NZs modell i lys av å ha et globalt potensiale. Uansett "
"er deres fokus nå fullt ut utførelsen av Figure.NZs arbeid i New Zealand, og "
"realiseringen av <quote>nettverkseffekten</quote> – at brukere dramatisk "
"øker egen og andres nytteverdi ved bruk av tjenesten. Creative Commons er "
"kjernen som gjør denne nettverkseffekten mulig."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5153
msgid "Knowledge Unlatched"
msgstr "Knowledge Unlatched"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5156
msgid ""
"Knowledge Unlatched is a not-for-profit community interest company that "
"brings libraries together to pool funds to publish open-access books. "
"Founded in 2012 in the UK."
msgstr ""
"Knowledge Unlatched er et veldedig samfunnsinteresseselskap som bringer "
"biblioteker sammen for å finansiere utgivelser av bøker med åpen tilgang.  "
"Grunnlagt 2012 i Storbritannia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5161
msgid "<ulink url=\"http://knowledgeunlatched.org\"/>"
msgstr "<ulink url=\"http://knowledgeunlatched.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5163
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
"(specialized)"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Folkefinansiering "
"(spesialisert)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5166
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 26, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 26. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5169
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Frances Pinter, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Frances Pinter, grunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5177
#, fuzzy
#| msgid ""
#| "The serial entrepreneur Dr. Frances Pinter has been at the forefront of "
#| "innovation in the publishing industry for nearly forty years. She founded "
#| "the UK-based Knowledge Unlatched with a mission to enable open access to "
#| "scholarly books. For Frances, the current scholarly- book-publishing "
#| "system is not working for anyone, and especially not for monographs in "
#| "the humanities and social sciences. Knowledge Unlatched is committed to "
#| "changing this and has been working with libraries to create a sustainable "
#| "alternative model for publishing scholarly books, sharing the cost of "
#| "making monographs (released under a Creative Commons license)  and "
#| "savings costs over the long term. Since its launch, Knowledge Unlatched "
#| "has received several awards, including the IFLA/Brill Open Access award "
#| "in 2014 and a Curtin University Commercial Innovation Award for "
#| "Innovation in Education in 2015."
msgid ""
"The serial entrepreneur Dr. Frances Pinter has been at the forefront of "
"innovation in the publishing industry for nearly forty years. She founded "
"the UK-based Knowledge Unlatched with a mission to enable open access to "
"scholarly books. For Frances, the current scholarly- book-publishing system "
"is not working for anyone, and especially not for monographs in the "
"humanities and social sciences. Knowledge Unlatched is committed to changing "
"this and has been working with libraries to create a sustainable alternative "
"model for publishing scholarly books, sharing the cost of making monographs "
"(released under a Creative Commons license)  and savings costs over the long "
"term. Since its launch, Knowledge Unlatched has received several awards, "
"including the IFLA/Brill Open Access award in 2014 and a Curtin University "
"Commercial Innovation Award for Innovation in Education in 2015."
msgstr ""
"Seriegrunnlegger dr. Frances Pinter har vært i forkant av innovasjon i "
"forlagsbransjen i nesten førti år. Hun grunnla det UK-baserte Knowledge "
"Unlatched med oppgaven å gi åpen tilgang til vitenskapelige bøker. For "
"Frances fungerer ikke dagens system for vitenskapelige bokpubliseringssystem "
"for alle, og spesielt ikke for monografier i humaniora og samfunnsvitenskap. "
"Knowledge Unlatched har forpliktet seg til å endre dette, og har arbeidet "
"sammen med biblioteker for å skape en bærekraftig alternativ modell for "
"publisering av vitenskapelige bøker, deling av kostnadene for monografier "
"(utgitt under en Creative Commons-lisens) og, på lang sikt, spare kostnader. "
"Siden lanseringen, har Knowledge Unlatched mottatt flere priser, inkludert "
"IFLA/Brill Open Access-prisen for 2014, og  en Curtin University Commersial "
"Innovation Award-pris for innovasjon i utdanning i 2015."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5193
#, fuzzy
#| msgid ""
#| "Dr. Pinter has been in academic publishing most of her career.  About ten "
#| "years ago, she became acquainted with the Creative Commons founder "
#| "Lawrence Lessig and got interested in Creative Commons as a tool for both "
#| "protecting content online and distributing it free to users."
msgid ""
"Dr. Pinter has been in academic publishing most of her career.  About ten "
"years ago, she became acquainted with the Creative Commons founder Lawrence "
"Lessig and got interested in Creative Commons as a tool for both protecting "
"content online and distributing it free to users."
msgstr ""
"Dr. Pinter har vært i akademiske publisering mestedelen av sin karrière. "
"Omtrent for ti år siden ble hun kjent med Creative Commons grunnlegger "
"Lawrence Lessig, og ble interessert i Creative Commons som et verktøy for "
"både å beskytte innhold på nettet, og fordele det gratis for brukere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5200
msgid ""
"Not long after, she ran a project in Africa convincing publishers in Uganda "
"and South Africa to put some of their content online for free using a "
"Creative Commons license and to see what happened to print sales. Sales went "
"up, not down."
msgstr ""
"Ikke lenge etter drev hun et prosjekt i Afrika som overbeviste utgivere i "
"Uganda og Sør-Afrika om å legge noe av innholdet sitt på nettet gratis med "
"en Creative Commons-lisens, for å se hva som skjedde. Salget gikk opp, ikke "
"ned."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5206
msgid ""
"In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the "
"United Kingdom, appointed her its founding publisher in London. As part of "
"the launch, Frances convinced Bloomsbury to differentiate themselves by "
"putting out monographs for free online under a Creative Commons license (BY-"
"NC or BY-NC-ND, i.e., Attribution-NonCommercial or Attribution-NonCommercial-"
"NoDerivs). This was seen as risky, as the biggest cost for publishers is "
"getting a book to the stage where it can be printed. If everyone read the "
"online book for free, there would be no print-book sales at all, and the "
"costs associated with getting the book to print would be lost.  "
"Surprisingly, Bloomsbury found that sales of the print versions of these "
"books were 10 to 20 percent higher than normal. Frances found it intriguing "
"that the Creative Commons–licensed free online book acts as a marketing "
"vehicle for the print format."
msgstr ""
"I 2008 valgte Bloomsbury Academic, et nytt forlag under Bloomsbury "
"Publishing i Storbritannia, å la henne til å stå for oppstarten av dette "
"forlaget i London. Som en del av lanseringen overbeviste Frances Bloomsbury "
"om å differensiere ved å legge ut monografier gratis på nettet med en "
"Creative Commons-lisens (BY-NC eller BY-NC-ND, dvs. Attribution-"
"NonComskrevetmercial eller Attribution-NonCommercial-NoDerivs). Dette ble "
"sett på som risikabelt, ettersom den største kostnaden for utgivere er å få "
"en bok  frem til trykningsstadiet. Hvis alle kunne lese den elektroniske "
"boken gratis, ville det ikke være salg av trykte bøker i det hele, og "
"kostnadene forbundet med å få boken trykket går tapt. Overraskende nok fant "
"Bloomsbury at salg av trykte versjoner av disse bøkene var 10 til 20 prosent "
"høyere enn normalt.  Frances fant det interessant at den gratis Creative "
"Commons-lisensierte boken på nettet fungerer som et markedsføringsredskap "
"for det trykte formatet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5223
#, fuzzy
#| msgid ""
#| "Frances began to look at customer interest in the three forms of the "
#| "book: 1) the Creative Commons–licensed free online book in PDF form, 2) "
#| "the printed book, and 3) a digital version of the book on an aggregator "
#| "platform with enhanced features. She thought of this as the “ice cream "
#| "model”: the free PDF was vanilla ice cream, the printed book was an ice "
#| "cream cone, and the enhanced e-book was an ice cream sundae."
msgid ""
"Frances began to look at customer interest in the three forms of the book: "
"1) the Creative Commons–licensed free online book in PDF form, 2) the "
"printed book, and 3) a digital version of the book on an aggregator platform "
"with enhanced features. She thought of this as the <quote>ice cream model</"
"quote>: the free PDF was vanilla ice cream, the printed book was an ice "
"cream cone, and the enhanced e-book was an ice cream sundae."
msgstr ""
"Frances begynte å se på kundens interesse i tre former av boken: 1) Creative "
"Commons-lisensierte gratis online-bok i PDF-skjemaet, 2) den trykte boken, "
"og 3) en digital versjon av boken på en aggregator-plattform med forbedrede "
"funksjoner. Hun tenkte på dette som <quote>iskrem model</quote>: gratis PDF "
"var vaniljeis, den trykte boken var en iskrem, og den forbedrede e-boken var "
"en iskrem sundae."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5232
msgid ""
"After a while, Frances had an epiphany—what if there was a way to get "
"libraries to underwrite the costs of making these books up until they’re "
"ready be printed, in other words, cover the fixed costs of getting to the "
"first digital copy? Then you could either bring down the cost of the printed "
"book, or do a whole bunch of interesting things with the printed book and e-"
"book—the ice cream cone or sundae part of the model."
msgstr ""
"Etter en stund, hadde Frances en åpenbaring: Hva hvis det var en måte å få "
"biblioteker til å garantere for kostnadene ved å gjøre disse bøkene "
"trykningsklare, altså dekke faste kostnader for å få frem den første "
"digitale kopien? Så kan man enten få ned kostnadene for den trykte boken, "
"eller gjøre en hel haug med interessante ting med den trykte boken og e-"
"boken - kjeksisen eller iskuler med pynt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5241
#, fuzzy
#| msgid ""
#| "This idea is similar to the article-processing charge some open-access "
#| "journals charge researchers to cover publishing costs.  Frances began to "
#| "imagine a coalition of libraries paying for the prepress costs—a “book-"
#| "processing charge”—and providing everyone in the world with an open-"
#| "access version of the books released under a Creative Commons license."
msgid ""
"This idea is similar to the article-processing charge some open-access "
"journals charge researchers to cover publishing costs.  Frances began to "
"imagine a coalition of libraries paying for the prepress costs—a <quote>book-"
"processing charge</quote>—and providing everyone in the world with an open-"
"access version of the books released under a Creative Commons license."
msgstr ""
"Denne ideen likner betalingen for artikkelbehandlingen som tidsskifter med "
"åpen tilgang krever av forskere for å dekke publiseringskostnadene. Frances "
"begynte å tenke på en koalisjon av biblioteker som betalte kostnadene frem "
"til trykking – en <quote>bok-prosessavgift</quote> – og gi alle i verden en "
"åpen tilgangs-versjon av bøker utgitt med en Creative Commons-lisens."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5249
msgid ""
"This idea really took hold in her mind. She didn’t really have a name for it "
"but began talking about it and making presentations to see if there was "
"interest. The more she talked about it, the more people agreed it had "
"appeal. She offered a bottle of champagne to anyone who could come up with a "
"good name for the idea. Her husband came up with Knowledge Unlatched, and "
"after two years of generating interest, she decided to move forward and "
"launch a community interest company (a UK term for not-for-profit social "
"enterprises) in 2012."
msgstr ""
"Denne ideen tok virkelig tak i henne. Hun hadde egentlig ikke et navn for "
"det, men begynte å snakke om det, og lage presentasjoner for å se om det var "
"noe interesse. Jo mer hun snakket om det, jo mer ble folk enige om at det "
"hadde appell. Hun tilbød en flaske champagne for alle som kunne komme opp "
"med et godt navn for ideen. Hennes mann kom opp med Knowledge Unlatched, og "
"etter to år for å opparbeide interesse, besluttet hun å gå videre og starte "
"et <quote>community interest company</quote> (et engelsk begrep for non-"
"profit samfunnsforetak) i 2012."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5260
msgid ""
"She describes the business model in a paper called Knowledge Unlatched: "
"Toward an Open and Networked Future for Academic Publishing:"
msgstr ""
"Hun beskriver forretningsmodellen i en artikkel med tittel Knowledge "
"Unlatched: Toward an Open and Networked Future for Academic Publishing:"

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5267
msgid ""
"Publishers offer titles for sale reflecting origination costs only via "
"Knowledge Unlatched."
msgstr ""
"Utgivere tilbyr utgivelser for salg som avspeiler opprinnelige kostnader "
"bare via Knowlegde Unlatched."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5273
msgid ""
"Individual libraries select titles either as individual titles or as "
"collections (as they do from library suppliers now)."
msgstr ""
"Frittstående bibliotek velger titler enten som individuelle titler eller som "
"samlinger (slik de gjør fra bibliotekleverandører i dag)."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5279
msgid ""
"Their selections are sent to Knowledge Unlatched specifying the titles to be "
"purchased at the stated price(s)."
msgstr ""
"Utvalgene deres blir sendt til Knowledge Unlatched der de titlene som kan "
"kjøpes spesifiseres og prisene angis."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5285
msgid ""
"The price, called a Title Fee (set by publishers and negotiated by Knowledge "
"Unlatched), is paid to publishers to cover the fixed costs of publishing "
"each of the titles that were selected by a minimum number of libraries to "
"cover the Title Fee."
msgstr ""
"Prisen, kalt Title Fee (satt av utgivere og forhandlet frem av Knowlegde "
"Unlatched), betales til utgivere for å dekke faste kostnader for å publisere "
"hver av titlene som ble valgt av et minimumsantall biblioteker for å få "
"dekket Title Fee-gebyret."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5294
msgid ""
"Publishers make the selected titles available Open Access (on a Creative "
"Commons or similar open license) and are then paid the Title Fee which is "
"the total collected from the libraries."
msgstr ""
"Forlagene gjør de utvalgte titler tilgjengelige med Open Access (med en åpen "
"lisens som Creative Commons eller lignende), og får så utbetalt Title Fee-"
"beløpet som er den summen som er innbetalt fra bibliotekene."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5304
msgid "<ulink url=\"http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf\"/>"
msgstr "<ulink url=\"http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf\"/>"

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5301
msgid ""
"Publishers make print copies, e-Pub, and other digital versions of selected "
"titles available to member libraries at a discount that reflects their "
"contribution to the Title Fee and incentivizes membership.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Forlag gjør  trykte bøker, e-Pub og andre digitale versjoner av valgte "
"titler tilgjengelig for medlemsbiblioteker til rabattert pris, noe som "
"avspeiler deres bidrag til Title Fee, og ansporer til medlemskap."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5309
msgid ""
"The first round of this model resulted in a collection of twenty-eight "
"current titles from thirteen recognized scholarly publishers being "
"unlatched. The target was to have two hundred libraries participate. The "
"cost of the package per library was capped at $1,680, which was an average "
"price of sixty dollars per book, but in the end they had nearly three "
"hundred libraries sharing the costs, and the price per book came in at just "
"under forty-three dollars."
msgstr ""
"Første runde av denne modellen resulterte i en samling på 28 gjeldende "
"titler fra tretten anerkjente vitenskapelige forlag. Målet var å få med to "
"hundre bibliotek i samarbeidet. Kostnaden av pakken pr. bibliotek hadde et "
"øvre tak på 1680 amerikanske dollar, som er en gjennomsnittspris på 60 "
"dollar pr. bok, men til slutt var det nesten tre hundre bibliotek som delte "
"på utgiftene, og pr. bok kom de ned i under 43 dollar pr. bok."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5320
msgid ""
"<ulink url=\"http://collections.knowledgeunlatched.org/collection-"
"availability-1/\"/>"
msgstr ""
"<ulink url=\"http://collections.knowledgeunlatched.org/collection-"
"availability-1/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5319
msgid ""
"The open-access, Creative Commons versions of these twenty-eight books are "
"still available online.<placeholder type=\"footnote\" id=\"0\"/> Most books "
"have been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright "
"holder, not the publisher, and negotiate choice of license as part of the "
"publishing agreement.  Frances has found that most authors want to retain "
"control over the commercial and remix use of their work. Publishers list the "
"book in their catalogs, and the noncommercial restriction in the Creative "
"Commons license ensures authors continue to get royalties on sales of "
"physical copies."
msgstr ""
"Creative Commons-versjoner av alle 28 bøker er fremdeles fritt tilgjengelig "
"på nett.<placeholder type=\"footnote\" id=\"0\"/> De fleste bøker er "
"lisensiert med CC BY-NC eller CC BY-NC-ND. Forfatterne har kopiretten, ikke "
"forleggeren, og forhandler valg av lisens som del av publiseringsavtalen. "
"Frances har merket seg at de fleste forfattere ønsker å beholde kontroll "
"over kommersiell og videre bruk av deres arbeid. Forleggere lister opp "
"bøkene i sine kataloger, og tillegg av ikke-kommersiell begrensning i "
"Creative Commons-lisens betyr at forfatterne fortsetter å motta salær "
"(royalty) for salg av fysiske kopier."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5330
msgid ""
"There are three cost variables to consider for each round: the overall cost "
"incurred by the publishers, total cost for each library to acquire all the "
"books, and the individual price per book. The fee publishers charge for each "
"title is a fixed charge, and Knowledge Unlatched calculates the total amount "
"for all the books being unlatched at a time. The cost of an order for each "
"library is capped at a maximum based on a minimum number of libraries "
"participating. If the number of participating libraries exceeds the minimum, "
"then the cost of the order and the price per book go down for each library."
msgstr ""
"Det er tre kostnadsvariabler å ta høyde for i hver runde: Den sammenlagte "
"kostnaden pålagt av forleggerne, total kostnad for ervervelse av alle bøkene "
"for bibliotekene, og individuell pris pr. bok. Avgiften forleggerne tar for "
"hver tittel er fast, og Knowledge Unlatched  beregner totalbeløpet for alle "
"bøkene   samtidig. Kostnaden for én ordre for hvert bibliotek er satt "
"<quote>i verste fall</quote>, basert på et minimum av deltagende "
"biblioteker. Kostnaden reduserer deretter for hvert ekstra bibliotek som "
"deltar."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5342
msgid ""
"The second round, recently completed, unlatched seventy-eight books from "
"twenty-six publishers. For this round, Frances was experimenting with the "
"size and shape of the offerings. Books were being bundled into eight small "
"packages separated by subject (including Anthropology, History, Literature, "
"Media and Communications, and Politics), of around ten books per package.  "
"Three hundred libraries around the world have to commit to at least six of "
"the eight packages to enable unlatching. The average cost per book was just "
"under fifty dollars. The unlatching process took roughly ten months. It "
"started with a call to publishers for titles, followed by having a library "
"task force select the titles, getting authors’ permissions, getting the "
"libraries to pledge, billing the libraries, and finally, unlatching."
msgstr ""
"Den andre runden, som også har latt seg gjennomføre, unnfanget 78 bøker fra "
"26 forleggere. I denne runden eksperimenterte Frances med størrelsen og "
"formen på det som ble tilbudt. Bøker ble pakket i åtte pakker, delt inn pr. "
"emne (inkludert antropologi, historie, litteratur, media og kommunikasjon, "
"og politikk), på omkring 10 bøker pr. pakke. Tre hundre biblioteker verden "
"over må binde seg til unnfanging av minst seks av åtte pakker for at det "
"skulle bli noe av. Gjennomsnittskostnaden pr. bok var snaut 50 dollar. "
"Unnfangingsprosessen tok omtrent ti måneder. Det startet med en rekke "
"telefonsamtaler til forleggerne for å få rede på titler, dernest forming av "
"en ansvarsgruppe fra bibliotekhold for å velge titler, innhenting av "
"forfattersamtykke, avtaleskriving med bibliotekene, tilhørende fakturering, "
"og til sist, unnfanging."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5357
msgid ""
"The longest part of the whole process is getting libraries to pledge and "
"commit funds. It takes about five months, as library buy-in has to fit "
"within acquisition cycles, budget cycles, and library-committee meetings."
msgstr ""
"Mest langtrekkende var prosessen med å få bibliotekene til å love og å sende "
"avgårde midler. Det tar omkring fem måneder, da bibliotekets innkjøp må "
"passe inn i kjøpssykluser, budsjettrunder, og bibliotekkomiteers møter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5363
msgid ""
"Knowledge Unlatched informs and recruits libraries through social media, "
"mailing lists, listservs, and library associations. Of the three hundred "
"libraries that participated in the first round, 80 percent are also "
"participating in the second round, and there are an additional eighty new "
"libraries taking part. Knowledge Unlatched is also working not just with "
"individual libraries but also library consortia, which has been getting even "
"more libraries involved."
msgstr ""
"Knowledge Unlatched informerer og rekrutterer biblioteker på sosiale media, "
"e-postlister, listetjenere, og bibliotekforbund. Av de tre hundre "
"bibliotekene som deltok i første runde, fant 80 prosent av dem veien i runde "
"to, og det er anslagsvis 80 nye som deltar. Knowledge Unlatched arbeider "
"ikke bare med enkeltstående biblioteker, men også konsortier, noe som har "
"fått enda flere biblioteker med i laget."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5373
msgid ""
"Knowledge Unlatched is scaling up, offering 150 new titles in the second "
"half of 2016. It will also offer backlist titles, and in 2017 will start to "
"make journals open access too."
msgstr ""
"Knowledge Unlatched utvider tilbudet, til 150 nye titler i andre halvdel av "
"2016. Tidligere innlemmelser er også med, og i 2017 vil journaler komme til "
"også, med  fri tilgang på alt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5378
msgid ""
"Knowledge Unlatched deliberately chose monographs as the initial type of "
"book to unlatch. Monographs are foundational and important, but also "
"problematic to keep going in the standard closed publishing model."
msgstr ""
"De har aktivt valgt å unnfange monografier som første boktype. Monografier "
"er grunnleggende og viktige, men det er også vanskelig å fortsette i den "
"lukkede standard publiseringsmodellenen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5384
msgid ""
"The cost for the publisher to get to a first digital copy of a monograph is "
"$5,000 to $50,000. A good one costs in the $10,000 to $15,000 range. "
"Monographs typically don’t sell a lot of copies. A publisher who in the past "
"sold three thousand copies now typically sells only three hundred. That "
"makes unlatching monographs a low risk for publishers. For the first round, "
"it took five months to get thirteen publishers. For the second round, it "
"took one month to get twenty-six."
msgstr ""
"Kostnaden for utgiveren for ervervelse av første digitale kopi av en "
"monografi er mellom 5000 dollar til 50 000 dollar. En god monografi beløper "
"seg til mellom 10 000 til 15 000 dollar. Monografier selger vanligvis ikke "
"mange eksemplarer. Hvis tallene i tidligere tider var 3000, kan man som "
"motsats regne 300 i vår tid.  Det gjør unnfanging av monografier til "
"lavrisikosport for forleggere. I første runde tok det fem måneder å få med "
"13 av dem, i andre runde gikk det ikke mer enn en måned for å få  26."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5401
msgid ""
"<ulink url=\"http://www.knowledgeunlatched.org/featured-authors-section/\"/>"
msgstr ""
"<ulink url=\"http://www.knowledgeunlatched.org/featured-authors-section/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5394
msgid ""
"Authors don’t generally make a lot of royalties from monographs.  Royalties "
"range from zero dollars to 5 to 10 percent of receipts.  The value to the "
"author is the awareness it brings to them; when their book is being read, it "
"increases their reputation. Open access through unlatching generates many "
"more downloads and therefore awareness. (On the Knowledge Unlatched website, "
"you can find interviews with the twenty-eight round-one authors describing "
"their experience and the benefits of taking part.)<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Forfatterne tjener vanligvis ikke mye i godtgjørelse for bruk fra "
"monografier.  Royalty varierer fra ingenting, til 5 til 10 prosent av det "
"som kommer inn. Verdien for forfatteren er oppmerksomheten de får. Når boken "
"deres blir lest, øker omtalen. Åpen tilgang gjennom frikjøpsunnfangelse "
"genererer mange flere nedlastinger og derfor mer oppmerksomhet. (På "
"hjemmesiden til Knowledge Unlatched, finner du intervjuer med de tjueåtte "
"forfatterne fra den første omgangen i beskrivelsen av erfaring og fordelene "
"ved å delta.)<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5404
msgid ""
"Library budgets are constantly being squeezed, partly due to the inflation "
"of journal subscriptions. But even without budget constraints, academic "
"libraries are moving away from buying physical copies. An academic library "
"catalog entry is typically a URL to wherever the book is hosted. Or if they "
"have enough electronic storage space, they may download the digital file "
"into their digital repository. Only secondarily do they consider getting a "
"print book, and if they do, they buy it separately from the digital version."
msgstr ""
"Bibliotekenes budsjetter blir stadig presset, delvis på grunn av veksten i "
"journalabonnementer. Selv uten budsjettbegrensninger, beveger akademiske "
"biblioteker seg vekk fra å kjøpe fysiske kopier. Katalogoppføringen i et "
"akademisk bibliotek er vanligvis en lenke til dit boken måte ligge. Eller, "
"hvis de har nok elektronisk lagringsplass, kan de laste ned den digitale "
"filen til sin digitale kildebrønn. Bare som et neste alternativ vurderer de "
"å anskaffe en trykt bok, og hvis de gjør det, kjøper de den separat fra den "
"digitale versjonen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5415
msgid ""
"Knowledge Unlatched offers libraries a compelling economic argument. Many of "
"the participating libraries would have bought a copy of the monograph "
"anyway, but instead of paying $95 for a print copy or $150 for a digital "
"multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens "
"the book to not just the participating libraries, but to the world."
msgstr ""
"Knowlegde Unlatched tilbyr biblioteker et overbevisende økonomisk argument. "
"Mange av de deltakende bibliotekene ville ha kjøpt en kopi av monografien "
"uansett, men isteden for å betale 95 dollar for en trykket bok eller 150 "
"dollar for en digital flerbrukskopi, betaler de 50 dollar for unnfangelsen. "
"Det koster dem mindre, og det åpner boken ikke bare for de deltakende "
"bibliotekene, men for hele verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5423
msgid ""
"Not only do the economics make sense, but there is very strong alignment "
"with library mandates. The participating libraries pay less than they would "
"have in the closed model, and the open-access book is available to all "
"libraries. While this means nonparticipating libraries could be seen as free "
"riders, in the library world, wealthy libraries are used to paying more than "
"poor libraries and accept that part of their money should be spent to "
"support open access. <quote>Free ride</quote> is more like community "
"responsibility. By the end of March 2016, the round-one books had been "
"downloaded nearly eighty thousand times in 175 countries."
msgstr ""
"Ikke bare er økonomien fornuftig, men det er  helt på linje med bibliotekets "
"oppgaver. De deltakende bibliotekene betaler mindre enn de ville ha gjort i "
"den lukkede modellen, og boken med åpen tilgang er tilgjengelig for alle "
"biblioteker. Mens dette betyr at biblioteker som ikke deltar kan bli sett på "
"som gratispassasjerer i bibliotekverdenen, er velstående biblioteker vant "
"til å betale mer enn fattigere biblioteker, og aksepterer at en del av "
"pengene deres brukes til å støtte åpen tilgang. <quote>Gratispassasjer</"
"quote> er mer som et samfunnsansvar. Ved utgangen av mars 2016 ble bøkene i "
"førsterunden lastet ned nesten åtti  tusen ganger i 175 land."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5436
msgid ""
"For publishers, authors, and librarians, the Knowledge Unlatched model for "
"monographs is a win-win-win."
msgstr ""
"For utgivere, forfattere og bibliotekarer er Knowledge Unlatched-modellen "
"for monografier en vinn-vinn-situasjon."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5440
msgid ""
"In the first round, Knowledge Unlatched’s overheads were covered by grants. "
"In the second round, they aim to demonstrate the model is sustainable. "
"Libraries and publishers will each pay a 7.5 percent service charge that "
"will go toward Knowledge Unlatched’s running costs. With plans to scale up "
"in future rounds, Frances figures they can fully recover costs when they are "
"unlatching two hundred books at a time. Moving forward, Knowledge Unlatched "
"is making investments in technology and processes. Future plans include "
"unlatching journals and older books."
msgstr ""
"I første runde ble Knowledge Unlatcheds kostnader dekket av bevilgninger og "
"donasjoner. I andre runde tar de sikte på å vise at modellen er bærekraftig. "
"Biblioteker og utgivere betale hver en serviceavgift på 7,5 prosent som går "
"til Knowlegde Unlatcheds driftskostnader.  Med planer om å utvide i senere "
"omganger, regner Frances med at de kan få dekket kostnadene fullt ut når de "
"frikjøper to hundre bøker om gangen.  I fortsettelsen vil Knowledge "
"Unlatched investere i teknologi og prosesser. Fremtidige planer inkluderer "
"frikjøp av tidsskifter og eldre bøker."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5451
msgid ""
"Frances believes that Knowledge Unlatched is tapping into new ways of "
"valuing academic content. It’s about considering how many people can find, "
"access, and use your content without pay barriers. Knowledge Unlatched taps "
"into the new possibilities and behaviors of the digital world. In the "
"Knowledge Unlatched model, the content-creation process is exactly the same "
"as it always has been, but the economics are different. For Frances, "
"Knowledge Unlatched is connected to the past but moving into the future, an "
"evolution rather than a revolution."
msgstr ""
"Frances mener at Knowlegde Unlatched finner nye måter å sette pris på faglig "
"innhold på. Det handler om å vurdere hvor mange mennesker som kan finne, få "
"tilgang til og bruke innholdet uten at betaling kommer i veien. Knowledge "
"Unlatched åpner nye muligheter og atferd i den digitale verden. I Knowlegde "
"Unlatched-modellen er den innholdsskapende prosessen akkurat det samme som "
"den alltid har vært, men økonomien er forskjellig. For Frances er Knowledge "
"Unlatched knyttet til fortiden, men på vei inn i fremtiden, en utvikling "
"snarere enn en revolusjon."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5463
msgid "Lumen Learning"
msgstr "Lumen Learning"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5466
msgid ""
"Lumen Learning is a for-profit company helping educational institutions use "
"open educational resources (OER). Founded in 2013 in the U.S."
msgstr ""
"Lumen Learning, et selskap til inntekts ervervelse, er myntet på opplæring "
"av utdanningsinstitusjoner i bruk av åpne pedagogiske ressurser (OER - open "
"educational resources). Grunnlagt 2013 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5471
msgid "<ulink url=\"http://lumenlearning.com\"/>"
msgstr "<ulink url=\"http://lumenlearning.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5473
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services, grant funding"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for tilpassede "
"tjenester, gi finansiering"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5476
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 21, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 21. desember 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5479
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: David Wiley and Kim "
"Thanos, cofounders"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: David Wiley og Kim Thanos, "
"medgrunnleggere"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5493
msgid "<ulink url=\"http://lumenlearning.com/innovative-projects/\"/>"
msgstr "<ulink url=\"http://lumenlearning.com/innovative-projects/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5487
msgid ""
"Cofounded by open education visionary Dr. David Wiley and education-"
"technology strategist Kim Thanos, Lumen Learning is dedicated to improving "
"student success, bringing new ideas to pedagogy, and making education more "
"affordable by facilitating adoption of open educational resources. In 2012, "
"David and Kim partnered on a grant-funded project called the Kaleidoscope "
"Open Course Initiative.<placeholder type=\"footnote\" id=\"0\"/> It involved "
"a set of fully open general-education courses across eight colleges "
"predominantly serving at-risk students, with goals to dramatically reduce "
"textbook costs and collaborate to improve the courses to help students "
"succeed. David and Kim exceeded those goals: the cost of the required "
"textbooks, replaced with OER, decreased to zero dollars, and average student-"
"success rates improved by 5 to 10 percent when compared with previous years. "
"After a second round of funding, a total of more than twenty-five "
"institutions participated in and benefited from this project. It was career "
"changing for David and Kim to see the impact this initiative had on low-"
"income students. David and Kim sought further funding from the Bill and "
"Melinda Gates Foundation, who asked them to define a plan to scale their "
"work in a financially sustainable way. That is when they decided to create "
"Lumen Learning."
msgstr ""
"Etablert av den åpne utdanningsvisjonære dr. David Wiley og "
"utdanningsteknologistrateg Kim Thanos, skal Lumen Learning forbedre "
"studieresultater, bringe nye ideer til pedagogikken, samt gjøre utdanning "
"rimeligere ved å tilrettelegge det å ta i bruk åpne pedagogiske ressurser. I "
"2012, slo David og Kim seg sammen om et stipendfinansiert prosjekt kalt "
"Kaleidoscope Open Course Initiative.<placeholder type=\"footnote\" id=\"0\"/"
"> Det involverte en rekke helt åpne generelle utdanningskurs, fordelt på "
"åtte videregående skoler, hovedsakelig med elever i risikosonen. Målet var å "
"redusere lærebokskostnadene, og samarbeide for å forbedre kursene for å "
"hjelpe elevene å lykkes. David og Kim overskred disse målene: Kostnaden for "
"nødvendige lærebøker erstattet med OER, ble redusert til null dollar, og "
"gjennomsnittlig studentsuksess økte med fra 5 til 10 prosent, sammenlignet "
"med tidligere år. Etter en ny runde med finansiering, deltok til sammen mer "
"enn tjuefem institusjoner som alle nyttiggjorde seg av dette prosjektet. Det "
"endret yrkesfremtiden for David og Kim å se den virkningen dette initiativet "
"hadde for lavinntektselever. David og Kim søkte ytterligere finansiering fra "
"Bill og Melinda Gates Foundation, som ba dem om å lage en plan for å utvikle "
"sitt arbeid, slik at det ble økonomisk bærekraftig. Det ble da besluttet å "
"opprette Lumen Learning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5510
msgid ""
"David and Kim went back and forth on whether it should be a nonprofit or "
"for- profit. A nonprofit would make it a more comfortable fit with the "
"education sector but meant they’d be constantly fund-raising and seeking "
"grants from philanthropies.  Also, grants usually require money to be used "
"in certain ways for specific deliverables. If you learn things along the way "
"that change how you think the grant money should be used, there often isn’t "
"a lot of flexibility to do so."
msgstr ""
"David og Kim vekslet mellom hvorvidt dette skulle organiseres basert på "
"nonprofit eller fortjeneste. Nonprofit ville gjøre det mer tilpasset "
"utdanningssektoren, men betydde at de i tilfelle stadig måtte være på jakt "
"etter penger, og søke tilskudd fra veldedighetsdonasjoner. Slike donasjoner "
"krever også at pengene brukes på bestemte måter for bestemte resultater. "
"Hvis du lærer ting underveis, endres forutsetningen for hvordan du tenker "
"donasjonen skal brukes, er det ofte ikke mye fleksibilitet til å gjøre det."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5520
msgid ""
"But as a for-profit, they’d have to convince educational institutions to pay "
"for what Lumen had to offer. On the positive side, they’d have more control "
"over what to do with the revenue and investment money; they could make "
"decisions to invest the funds or use them differently based on the situation "
"and shifting opportunities. In the end, they chose the for-profit status, "
"with its different model for and approach to sustainability."
msgstr ""
"Men bygd på fortjeneste, vil de måtte overbevise utdanningsinstitusjoner om "
"å betale for hva Lumen hadde å tilby. På den positive siden ville de har mer "
"kontroll over hva de skal gjøre med inntekter og investeringspenger; de "
"kunne ta avgjørelser om å investere eller bruke dem på forskjellig måte "
"basert på situasjonen og skiftende muligheter. Til slutt valgte de "
"fortjenestemodellen, en annen modell og tilnærming til en økonomisk "
"bærekraftig utvikling."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5529
msgid ""
"Right from the start, David and Kim positioned Lumen Learning as a way to "
"help institutions engage in open educational resources, or OER. OER are "
"teaching, learning, and research materials, in all different media, that "
"reside in the public domain or are released under an open license that "
"permits free use and repurposing by others."
msgstr ""
"Helt fra starten posisjonerte David og Kim Lumen Learning som en måte å "
"hjelpe institusjoner til å bruke åpne pedagogiske ressurser eller OER. OER "
"er undervisning, læring og forskningsressurser, alle i forskjellige medier i "
"det offentlige rom, eller er utgitt med en åpen lisens som tillater andres "
"frie bruk og gjenbruk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5537
msgid ""
"Originally, Lumen did custom contracts for each institution. This was "
"complicated and challenging to manage. However, through that process "
"patterns emerged which allowed them to generalize a set of approaches and "
"offerings. Today they don’t customize as much as they used to, and instead "
"they tend to work with customers who can use their off-the-shelf options. "
"Lumen finds that institutions and faculty are generally very good at seeing "
"the value Lumen brings and are willing to pay for it. Serving disadvantaged "
"learner populations has led Lumen to be very pragmatic; they describe what "
"they offer in quantitative terms—with facts and figures—and in a way that is "
"very student-focused. Lumen Learning helps colleges and universities—"
msgstr ""
"Opprinnelig inngikk Lumen egendefinerte kontrakter med hver institusjon. "
"Dette var komplisert og utfordrende å administrere. Men gjennom denne "
"prosessen oppsto det mønstre som tillot dem å skalere opp en rekke "
"tilnærminger og tilbud. I dag tilpasser ikke de så mye som de pleide, og i "
"stedet pleier de å jobbe med kunder som kan bruke hyllevaren deres. Lumen "
"erfarer at institusjoner og lærere generelt er veldig flinke til å se "
"verdien i det som Lumen bidrar med og er villig til å betale for den.  Å "
"hjelpe vanskeligstilte elevgrupper har gjort  Lumen veldig pragmatisk: De "
"beskriver hva de tilbyr i kvantitative termer - med tall og fakta, og på en "
"måte som er svært elev-fokusert. Lumens Learning hjelper høyskoler og "
"universiteter –"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5553
msgid "replace expensive textbooks in high-enrollment courses with OER;"
msgstr "å erstatte dyre lærebøker i kurs med mange påmeldinger med OER;"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5559
msgid ""
"provide enrolled students day one access to Lumen’s fully customizable OER "
"course materials through the institution’s learning-management system;"
msgstr ""
"og fra første dag gi lærestedets studenter tilgang til Lumens helt "
"tilpassbare OER kursmateriell gjennom institusjonens system for "
"læringshåndtering;"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5566
msgid ""
"measure improvements in student success with metrics like passing rates, "
"persistence, and course completion; and"
msgstr ""
"måle forbedringer i studentsuksess med beregninger som gjennomstrømning, "
"utholdenhet, og kursfullførelse; og"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5572
msgid ""
"collaborate with faculty to make ongoing improvements to OER based on "
"student success research."
msgstr ""
"samarbeide med fakultetet for å gjøre kontinuerlige forbedringer i OER "
"basert på kunnskap om studentens studiefremgang."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5578
msgid ""
"Lumen has developed a suite of open, Creative Commons–licensed courseware in "
"more than sixty-five subjects. All courses are freely and publicly available "
"right off their website. They can be copied and used by others as long as "
"they provide attribution to Lumen Learning following the terms of the "
"Creative Commons license."
msgstr ""
"Lumen har utviklet en rekke åpne, Creative Commons-lisensierte kursopplegg "
"for mer enn seksti fag. Alle kurs er fritt og offentlig tilgjengelig rett "
"fra deres hjemmeside. De kan kopieres og brukes av andre så lenge de gir "
"henvisning til Lumen Learning, og følger betingelsene i Creative Commons-"
"lisensen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5586
msgid ""
"Then there are three types of bundled services that cost money.  One option, "
"which Lumen calls Candela courseware, offers integration with the "
"institution’s learning-management system, technical and pedagogical support, "
"and tracking of effectiveness.  Candela courseware costs institutions ten "
"dollars per enrolled student."
msgstr ""
"Så finnes det også tre typer medfølgende tjenester som koster penger. Ett "
"alternativ, som Lumen kaller Candela courseware, tilbyr sammenknytting med "
"institusjonens læringsbehandligssystem, teknisk og pedagogisk støtte, og "
"sporing av effektivitetsgrad. Candela courseware koster institusjonene ti "
"dollar pr. deltagende student."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5594
msgid ""
"A second option is Waymaker, which offers the services of Candela but adds "
"personalized learning technologies, such as study plans, automated messages, "
"and assessments, and helps instructors find and support the students who "
"need it most. Waymaker courses cost twenty-five dollars per enrolled student."
msgstr ""
"Et andre alternativ er Waymaker, som tilbyr tjenestene i Candela, men "
"utvider med personaliserte læringsteknologier, som studieplaner, "
"automatiserte meldinger, og vurderinger, og hjelper instruktører med å finne "
"og støtte studentene som trenger det mest. Waymaker-utdanningsløp koster 25 "
"dollar pr. deltagende student."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5601
msgid ""
"The third and emerging line of business for Lumen is providing guidance and "
"support for institutions and state systems that are pursuing the development "
"of complete OER degrees. Often called Z-Degrees, these programs eliminate "
"textbook costs for students in all courses that make up the degree (both "
"required and elective)  by replacing commercial textbooks and other "
"expensive resources with OER."
msgstr ""
"Den tredje forretningsførselen, i emning, er tilbud om støtte og veiledning "
"for institusjoner og offentlige systemer som søker å utvikle fullstendige "
"OER-grader. Ofte kalles de Z-grader, disse programmene som eliminerer "
"læringsmiddelskostnader for studenter i alle tilknyttede fag som utgjør "
"graden (både påkrevde og valgfrie) ved å erstatte kommersielle skolebøker og "
"andre dyre ressurser med OER."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5610
msgid ""
"Lumen generates revenue by charging for their value-added tools and services "
"on top of their free courses, just as solar-power companies provide the "
"tools and services that help people use a free resource—sunlight. And "
"Lumen’s business model focuses on getting the institutions to pay, not the "
"students. With projects they did prior to Lumen, David and Kim learned that "
"students who have access to all course materials from day one have greater "
"success. If students had to pay, Lumen would have to restrict access to "
"those who paid. Right from the start, their stance was that they would not "
"put their content behind a paywall. Lumen invests zero dollars in "
"technologies and processes for restricting access—no digital rights "
"management, no time bombs. While this has been a challenge from a business-"
"model perspective, from an open-access perspective, it has generated immense "
"goodwill in the community."
msgstr ""
"Lumen tjener penger ved å ta betalt for deres merverdiverktøy og tjenester "
"på toppen av deres gratisfag, akkurat som solenergiselskaper tilbyr verktøy "
"og tjenester som hjelper folk å bruke en kilde som er gratis. Lumens "
"forretningsmodell fokuserer på å få institusjonene til å betale, ikke "
"studentene. Med prosjekter før Lumens tid, lærte David og Kim at studenter "
"som har tilgang til alt skolemateriell fra dag én lykkes bedre. Hvis "
"studentene skulle ha betalt, ville Lumen måtte ha begrenset tilgangen. Helt "
"fra starten var deres holdning at de ikke ville putte materialet bak en "
"betalingsmur. Lumen investerer ingenting i teknologier og prosesser for "
"begrensing av tilgang, ingen digitale rettighetsbegrensninger, ingen "
"tidsbomber. Selv om dette har vært en utfordring fra et forretningsmessig "
"perspektiv, har det sett i forhold til fri tilgang, generert masse godvilje "
"i samfunnet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5627
msgid ""
"In most cases, development of their courses is funded by the institution "
"Lumen has a contract with. When creating new courses, Lumen typically works "
"with the faculty who are teaching the new course. They’re often part of the "
"institution paying Lumen, but sometimes Lumen has to expand the team and "
"contract faculty from other institutions. First, the faculty identifies all "
"of the course’s learning outcomes. Lumen then searches for, aggregates, and "
"curates the best OER they can find that addresses those learning needs, "
"which the faculty reviews."
msgstr ""
"Som oftest finansieres utviklingen av fagene deres av læringsinstitusjonen "
"Lumen har kontakt med. Ved konstruksjon av nye fag, jobber Lumen typisk med "
"fakultetet som etter hvert vil stå for opplæringen i de nye kurset. De er "
"ofte del av institusjonen som betaler Lumen, men noen ganger må Lumen utvide "
"staben og kontakte fakultetet fra andre institusjoner. Først identifiserer "
"fakultetet læringsverdien av faget. Lumen søker så opp, ordner og rensker "
"den beste OER de kan finne i så henseende, som fakultetet så etterser."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5638
msgid ""
"Sometimes faculty like the existing OER but not the way it is presented. The "
"open licensing of existing OER allows Lumen to pick and choose from images, "
"videos, and other media to adapt and customize the course. Lumen creates new "
"content as they discover gaps in existing OER. Test-bank items and feedback "
"for students on their progress are areas where new content is frequently "
"needed.  Once a course is created, Lumen puts it on their platform with all "
"the attributions and links to the original sources intact, and any of "
"Lumen’s new content is given an Attribution (CC BY) license."
msgstr ""
"Noen ganger liker fakultetet den OER som finnes, men ikke presentasjonen av "
"den. Den åpne lisensieringen lar Lumen plukke og velge blant bilder, videoer "
"og annen media for å tilpasse og skreddersy faget. Lumen lager nytt innhold "
"for å dekke svakheter i det som finnes der allerede. Kartotekførsel av "
"elementer og tilbakemelding for studenter om fremgangen er områder der "
"innhold ofte må lages. Når et fag først er laget, putter Lumen det på sin "
"plattform med alle henvisninger og lenker til opprinnelige kilder, og alt av "
"Lumens innhold blir gitt en henvisning – Attribusjon (CC BY)-lisens."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5649
msgid ""
"Using only OER made them experience firsthand how complex it could be to mix "
"differently licensed work together. A common strategy with OER is to place "
"the Creative Commons license and attribution information in the website’s "
"footer, which stays the same for all pages. This doesn’t quite work, "
"however, when mixing different OER together."
msgstr ""
"Å kun bruke OER bidro til førstehåndserfaring med hvordan forskjellige "
"lisenser fungerer sammen. En vanlig strategi med OER er å plassere Creative "
"Commons-lisens og henvisningsinformasjon i nettsidens bunntekst, som er den "
"samme på alle sider. Dette fungerer dog ikke helt ved sammenblanding av "
"forskjellig OER."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5657
msgid ""
"Remixing OER often results in multiple attributions on every page of every "
"course—text from one place, images from another, and videos from yet "
"another. Some are licensed as Attribution (CC BY), others as Attribution-"
"ShareAlike (CC BY-SA). If this information is put within the text of the "
"course, faculty members sometimes try to edit it and students find it a "
"distraction. Lumen dealt with this challenge by capturing the license and "
"attribution information as metadata, and getting it to show up at the end of "
"each page."
msgstr ""
"Å remikse OER fører ofte med seg flere henvisninger, på hver side av hvert "
"fag – tekst fra ett sted, bilder fra et annet, og videoer fra et tredje. "
"Noen er lisensert som henvisning (CC BY) (Attribution (CC BY)), andre ting "
"som henvisning-På-Like-Vilkår (CC BY-SA) (Attribution-ShareAlike (CC BY-"
"SA)) . Hvis informasjonen legges i selve fagteksten, finner man det fra "
"fakultetshold ofte vanskelig å endre, og studentene ser på det som en "
"distraksjon. Lumen har håndtert denne utfordringen ved å samle lisens og "
"henvisninger som metadata, for å få det til å vises på slutten av hver side."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5668
msgid ""
"Lumen’s commitment to open licensing and helping low-income students has led "
"to strong relationships with institutions, open-education enthusiasts, and "
"grant funders. People in their network generously increase the visibility of "
"Lumen through presentations, word of mouth, and referrals. Sometimes the "
"number of general inquiries exceed Lumen’s sales capacity."
msgstr ""
"Lumens engasjement for åpen lisensiering og lavinntektsstudenter har ført "
"til sterke relasjoner med institusjoner, åpen-utdanningsentusiaster og "
"donorer. Personer i nettverket deres økte generøst Lumens synlighet ved "
"presentasjoner, jungeltelegrafen, og anbefalinger. Noen ganger overstiger "
"antall generelle henvendelser Lumens salgskapasitet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5676
msgid ""
"To manage demand and ensure the success of projects, their strategy is to be "
"proactive and focus on what’s going on in higher education in different "
"regions of the United States, watching out for things happening at the "
"system level in a way that fits with what Lumen offers. A great example is "
"the Virginia community college system, which is building out Z-Degrees. "
"David and Kim say there are nine other U.S. states with similar system-level "
"activity where Lumen is strategically focusing its efforts. Where there are "
"projects that would require a lot of resources on Lumen’s part, they "
"prioritize the ones that would impact the largest number of students."
msgstr ""
"For å styre etterspørselen og lykkes med prosjekter, er strategien deres å "
"være proaktiv og fokusere på hva som skjer i høyere utdanning i ulike "
"regioner i USA, og følge med på hva som skjer på systemnivå, og som passer "
"til hva Lumen kan tilby.  Et godt eksempel er Virginias offentlige college-"
"system, som bygger opp Z-grader. David og Kim sier det er ni andre "
"amerikanske stater med lignende aktivitet på systemnivå, der Lumen "
"strategisk fokuserer sin innsats. Der det er prosjekter som krever mange "
"ressurser for Lumens del, prioriterer de dem som vil ha innvirkning på "
"størst antall elever."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5689
msgid ""
"As a business, Lumen is committed to openness. There are two core "
"nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative "
"Commons licenses, for all the materials it creates; and day-one access for "
"students. Having clear nonnegotiables allows them to then engage with the "
"education community to solve for other challenges and work with institutions "
"to identify new business models that achieve institution goals, while "
"keeping Lumen healthy."
msgstr ""
"Som bedrift er Lumen forpliktet til åpenhet. Det er to hovedanliggender det "
"ikke forhandles om: Lumens bruk av CC BY, den frieste av Creative Commons-"
"lisensene, for alt materiale de lager; og tilgang fra første dag for elever. "
"Å ha klare vilkår  gjør det også mulig å samarbeide med utdanningssektoren "
"for å løse andre utfordringer, og arbeide med institusjoner for å "
"identifisere nye forretningsmodeller som realiserer institusjonens mål, mens "
"bærekraften i Lumen beholdes."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5699
msgid ""
"Openness also means that Lumen’s OER must necessarily be nonexclusive and "
"nonrivalrous. This represents several big challenges for the business model: "
"Why should you invest in creating something that people will be reluctant to "
"pay for? How do you ensure that the investment the diverse education "
"community makes in OER is not exploited? Lumen thinks we all need to be "
"clear about how we are benefiting from and contributing to the open "
"community."
msgstr ""
"Åpenhet betyr også at Lumens åpne undervisningsressurser (OER) nødvendigvis "
"må være ikke-eksklusive og ikke-rivaliserende. Dette representerer flere "
"store utfordringer for forretningsmodellen: Hvorfor skulle en investere i "
"noe som folk ville være forbeholdne med å betale for? Hvordan sikrer man at "
"investeringen i den mangfoldige utdanningssektoren lager i OER, ikke blir "
"utnyttet? Lumen mener at vi alle trenger å være klar over hvordan vi drar "
"nytte av, og bidrar til dette åpne samfunnet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5709
msgid ""
"In the OER sector, there are examples of corporations, and even "
"institutions, acting as free riders. Some simply take and use open resources "
"without paying anything or contributing anything back.  Others give back the "
"minimum amount so they can save face.  Sustainability will require those "
"using open resources to give back an amount that seems fair or even give "
"back something that is generous."
msgstr ""
"I OER-sektoren er det eksempler på organisasjoner, og til og med "
"institusjoner, som fungerer som gratispassasjerer. Noen bare tar og bruker "
"åpne ressurser uten å betale noe eller bidrar med noe tilbake. Andre gir "
"tilbake minimumsbeløpet så de kan redde ansikt. Bærekraft vil kreve at de "
"som bruker åpne ressurser, gir tilbake et beløp som synes rimelig, eller til "
"og med gir tilbake generøst."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5718
msgid ""
"Lumen does track institutions accessing and using their free content. They "
"proactively contact those institutions, with an estimate of how much their "
"students are saving and encouraging them to switch to a paid model. Lumen "
"explains the advantages of the paid model: a more interactive relationship "
"with Lumen; integration with the institution’s learning-management system; a "
"guarantee of support for faculty and students; and future sustainability "
"with funding supporting the evolution and improvement of the OER they are "
"using."
msgstr ""
"Lumen sporer institusjoner som går inn og bruker det gratis innholdet. De "
"kontakter disse institusjonene i forkant med et anslag over hvor mye elevene "
"sparer, og oppmuntrer dem til å bytte til en betalt modell. Lumen forklarer "
"fordelene med en betalt modell: Et mer interaktivt forhold til Lumen; "
"integrasjon med institusjonens læringsplattform; garantert støtte for "
"fakultet og studenter; og fremtidige bærekraft med finansiert støtte til "
"utvikling og forbedring av den OER-en de bruker."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5729
msgid ""
"Lumen works hard to be a good corporate citizen in the OER community. For "
"David and Kim, a good corporate citizen gives more than they take, adds "
"unique value, and is very transparent about what they are taking from "
"community, what they are giving back, and what they are monetizing. Lumen "
"believes these are the building blocks of a sustainable model and strives "
"for a correct balance of all these factors."
msgstr ""
"Lumen arbeider hardt for å være en god deltaker i OER-samfunnet.  For David "
"og Kim er en god deltaker en som gir mer enn man tar, legger til ting av "
"unik verdi, og er veldig gjennomsiktig for hva de tar fra dette samfunnet, "
"hva de gir tilbake, og hva de tar penger for.  Lumen mener dette er "
"byggesteinene i en bærekraftig modell, og tilstreber en riktig balanse av "
"alle disse faktorene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5738
msgid ""
"Licensing all the content they produce with CC BY is a key part of giving "
"more value than they take. They’ve also worked hard at finding the right "
"structure for their value-add and how to package it in a way that is "
"understandable and repeatable."
msgstr ""
"Lisensiering med CC BY av alt innholdet de produserer er en viktig del av å "
"gi mer verdi enn de tar. De har også jobbet hardt for å finne den rette "
"strukturen for deres verdiøkning, og hvordan de skal pakkes på en måte som "
"er forståelig, og som kan gjentas."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5744
msgid ""
"As of the fall 2016 term, Lumen had eighty-six different open courses, "
"working relationships with ninety-two institutions, and more than seventy-"
"five thousand student enrollments. Lumen received early start-up funding "
"from the Bill and Melinda Gates Foundation, the Hewlett Foundation, and the "
"Shuttleworth Foundation. Since then, Lumen has also attracted investment "
"funding. Over the last three years, Lumen has been roughly 60 percent grant "
"funded, 20 percent revenue earned, and 20 percent funded with angel capital. "
"Going forward, their strategy is to replace grant funding with revenue."
msgstr ""
"I høstesemesteret 2016 hadde Lumen åttiseks ulike åpne kurs, samarbeid med "
"nittito institusjoner, og hadde mer enn syttifem tusen elev og student-"
"påmeldinger. Lumen fikk tidlig oppstartsfinansiering fra Bill og Melinda "
"Gates Foundation, Hewlett Foundation, og Shuttleworth Foundation. Siden da "
"har Lumen også trukket til seg investorfinansiering. De siste tre årene har "
"Lumen vært omtrent 60 prosent donasjonsfinansiert, 20 prosent med inntekter "
"og 20 prosent finansiert av engelinvestorer. Fremover er strategien deres å "
"erstatte donasjoner med inntekter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5756
msgid ""
"In creating Lumen Learning, David and Kim say they’ve landed on solutions "
"they never imagined, and there is still a lot of learning taking place. For "
"them, open business models are an emerging field where we are all learning "
"through sharing. Their biggest recommendations for others wanting to pursue "
"the open model are to make your commitment to open resources public, let "
"people know where you stand, and don’t back away from it. It really is about "
"trust."
msgstr ""
"Ved å lage Lumen Learning, sier David og Kim at de har landet på løsninger "
"de aldri hadde forestilt seg, og det er fortsatt mye læring. For dem er åpne "
"forretningsmodeller et voksende felt, der vi alle lærer gjennom deling. "
"Deres viktigste anbefalinger for andre som ønsker å basere seg på åpne "
"modeller, er å forplikte seg til å åpne ressursene offentlig, og la folk "
"vite hvor du står, og ikke vike tilbake. Det er et spørsmål om tillit."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5767
msgid "Jonathan Mann"
msgstr "Jonathan Mann"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5770
msgid ""
"Jonathan Mann is a singer and songwriter who is most well known as the "
"<quote>Song A Day</quote> guy. Based in the U.S."
msgstr ""
"Jonathan Mann er en sanger og låtskriver som er mest kjent som <quote>Song A "
"Day</quote>-fyren. Han holder til i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5773
msgid ""
"<ulink url=\"http://jonathanmann.net\"/> and <ulink url=\"http://"
"jonathanmann.bandcamp.com\"/>"
msgstr ""
"<ulink url=\"http://jonathanmann.net\"/> og <ulink url=\"http://jonathanmann."
"bandcamp.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5776
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services, pay-what-you-want, crowdfunding (subscription-based), charging for "
"in-person version (speaking engagements and musical performances)"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for tilpassede "
"tjenester, Betal-hva-du-vil, folkefinansiering (abonnementsbasert), betaling "
"for personlige versjoner (inntekter fra foredrag og musikalske opptredener)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5781
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 22, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 22. februar 2016"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5789
msgid ""
"Jonathan Mann thinks of his business model as <quote>hustling</quote>—"
"seizing nearly every opportunity he sees to make money. The bulk of his "
"income comes from writing songs under commission for people and companies, "
"but he has a wide variety of income sources. He has supporters on the "
"crowdfunding site Patreon. He gets advertising revenue from YouTube and "
"Bandcamp, where he posts all of his music. He gives paid speaking "
"engagements about creativity and motivation. He has been hired by major "
"conferences to write songs summarizing what speakers have said in the "
"conference sessions."
msgstr ""
"Jonathan Mann tenker på sin forretningsmodell som <quote>luring</quote> – å "
"gripe nesten enhver anledning han ser for å tjene penger. Hoveddelen av "
"inntekten hans kommer fra å skrive sanger på oppdrag for folk og bedrifter, "
"men han har en rekke inntektskilder. Han har tilhengere på "
"folkefinansieringsiden Patreon. Han får annonseinntekter fra YouTube og "
"Bandcamp, der han legger ut all sin musikk. Han får inntekter fra å holde "
"foredrag om kreativitet og motivasjon. Han er blitt engasjert til større "
"konferanser for å skrive sanger som oppsummerer hva innlederne har sagt i "
"konferansens sesjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5801
msgid ""
"His entrepreneurial spirit is coupled with a willingness to take action "
"quickly. A perfect illustration of his ability to act fast happened in 2010, "
"when he read that Apple was having a conference the following day to address "
"a snafu related to the iPhone 4. He decided to write and post a song about "
"the iPhone 4 that day, and the next day he got a call from the public "
"relations people at Apple wanting to use and promote his video at the Apple "
"conference. The song then went viral, and the experience landed him in Time "
"magazine."
msgstr ""
"Hans gründeregenskaper er kombinert med en vilje til å handle raskt. En "
"perfekt illustrasjon på hans evne til å handle raskt kom i 2010 da han leste "
"at Apple hadde en konferanse dagen etter for å rette opp i et rot knyttet "
"til iPhone 4. Han besluttet å skrive og sende en sang om iPhone 4 den dagen, "
"og dagen etter fikk han en telefon fra de PR-ansvarlige hos Apple som ville "
"bruke og fremme hans video på Apple-konferansen. Sangen gikk viralt, og "
"erfaringen ga ham oppslag i Time magazine."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5812
msgid ""
"Jonathan’s successful <quote>hustling</quote> is also about old-fashioned "
"persistence. He is currently in his eighth straight year of writing one song "
"each day. He holds the Guinness World Record for consecutive daily "
"songwriting, and he is widely known as the <quote>song-a-day guy.</quote>"
msgstr ""
"Jonathans vellykkede <quote>luring</quote> handler også om god gammeldags "
"utholdenhet. Han holder på i det åttende året på rad med å skrive en sang "
"hver dag. Han holder Guinness verdensrekord for sammenhengende daglig "
"låtskriving, og han er viden kjent som <quote>en-sang-om-dagen-fyren</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5819
msgid ""
"He fell into this role by, naturally, seizing a random opportunity a friend "
"alerted him to seven years ago—an event called Fun-A-Day, where people are "
"supposed to create a piece of art every day for thirty-one days straight. He "
"was in need of a new project, so he decided to give it a try by writing and "
"posting a song each day.  He added a video component to the songs because he "
"knew people were more likely to watch video online than simply listening to "
"audio files."
msgstr ""
"Han falt inn i denne rollen, helt naturlig, ved å gripe en tilfeldig "
"mulighet en venn varslet ham om for syv år siden, en hendelse kalt Fun-A-Day "
"(Moro-hver-dag), der folk forventes å skape et kunstverk hver dag i trettien "
"dager i strekk. Han hadde behov for et nytt prosjekt, så han bestemte seg "
"for å skrive og legge ut en sang hver dag. Han la til en videokomponent til "
"sangene fordi han visste at det var mer sannsynlig at folk så på en video på "
"nettet enn bare lyttet til lydfiler."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5829
msgid ""
"He had a really good time doing the thirty-one-day challenge, so he decided "
"to see if he could continue it for one year. He never stopped. He has "
"written and posted a new song literally every day, seven days a week, since "
"he began the project in 2009. When he isn’t writing songs that he is hired "
"to write by clients, he writes songs about whatever is on his mind that day. "
"His songs are catchy and mostly lighthearted, but they often contain at "
"least an undercurrent of a deeper theme or meaning. Occasionally, they are "
"extremely personal, like the song he cowrote with his exgirlfriend "
"announcing their breakup. Rain or shine, in sickness or health, Jonathan "
"posts and writes a song every day. If he is on a flight or otherwise "
"incapable of getting Internet access in time to meet the deadline, he will "
"prepare ahead and have someone else post the song for him."
msgstr ""
"Han hadde en virkelig en god tid da han tok utfordringen med tretti-en-"
"dager. Så han bestemte seg for å se om han kunne fortsette med det i ett år. "
"Han har aldri stoppet. Han har skrevet og lagt ut en ny sang bokstavelig "
"talt hver dag, syv dager i uken, siden han startet prosjektet i 2009. Når "
"han ikke skriver sanger som oppdrag for klienter, skriver han sanger om hva "
"han har i tankene den dagen. Sangene hans er fengende og mest muntre, men "
"inneholder ofte minst en undertone av et dypere tema eller mening. Noen "
"ganger er de svært personlige, som sangen han skrev sammen med den forrige "
"kjæresten for å kunngjøre bruddet. Regn eller solskinn, syk eller frisk, "
"Jonathan skriver og legger ut en sang hver eneste dag. Hvis han er på et "
"fly, eller ellers uten tilgang til Internett innen tidsfristen, forbereder "
"han seg, og får noen andre til å legge ut sangen for ham."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5845
msgid ""
"Over time, the song-a-day gig became the basis of his livelihood.  In the "
"beginning, he made money one of two ways. The first was by entering a wide "
"variety of contests and winning a handful. The second was by having the "
"occasional song and video go some varying degree of viral, which would bring "
"more eyeballs and mean that there were more people wanting him to write "
"songs for them. Today he earns most of his money this way."
msgstr ""
"Over tid ble en-sang-om-dagen-jobben grunnlaget for hans levebrød. I "
"begynnelsen tjente han pengene på to måter. Først var ved å delta på et "
"bredt spekter av konkurranser, og vinne en håndfull. Den andre var om de "
"sporadiske sangene og videoene i ulik grad gikk viralt, noe som ville gi "
"flere seere ,og betydde at flere mennesker som ønsket at han skulle skrive "
"sanger for dem. I dag tjener han mesteparten av pengene sine på den måten."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5854
msgid ""
"His website explains his gig as <quote>taking any message, from the super "
"simple to the totally complicated, and conveying that message through a "
"heartfelt, fun and quirky song.</quote> He charges $500 to create a produced "
"song and $300 for an acoustic song. He has been hired for product launches, "
"weddings, conferences, and even Kickstarter campaigns like the one that "
"funded the production of this book."
msgstr ""
"Hans nettsted forklarer hans opptreden som <quote>å ta ethvert budskap fra "
"superenkelt til det helt kompliserte, og formidle budskapet til en dyptfølt, "
"morsom og uvanlig sang</quote>. Han tar $ 500  for å produsere en sang og $ "
"300 for en akustisk sang. Han har vært leid inn for produktlanseringer, "
"bryllup, konferanser og til og med oppstartskampanjer som den som "
"finansierte produksjonen av denne boken."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5863
msgid ""
"Jonathan can’t recall when exactly he first learned about Creative Commons, "
"but he began applying CC licenses to his songs and videos as soon as he "
"discovered the option. <quote>CC seems like such a no-brainer,</quote> "
"Jonathan said. <quote>I don’t understand how anything else would make sense. "
"It seems like such an obvious thing that you would want your work to be able "
"to be shared.</quote>"
msgstr ""
"Jonathan kan ikke huske når akkurat han først hørte om Creative Commons, men "
"han begynte å bruke CC-lisenser til sine sanger og videoer så snart han "
"oppdaget dette alternativet. <quote>CC virker som et så åpenbart valg</"
"quote>, sier Jonathan. <quote>Jeg forstår ikke hvordan noe annet kunne være "
"fornuftig.  Det virker så åpenbart at du skulle ønske at ditt arbeid skulle "
"kunne deles.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5872
#, fuzzy
#| msgid ""
#| "His songs are essentially marketing for his services, so obviously the "
#| "further his songs spread, the better. Using CC licenses helps grease the "
#| "wheels, letting people know that Jonathan allows and encourages them to "
#| "copy, interact with, and remix his music. “If you let someone cover your "
#| "song or remix it or use parts of it, that’s how music is supposed to "
#| "work,” Jonathan said. “That is how music has worked since the beginning "
#| "of time. Our me-me, mine-mine culture has undermined that.”"
msgid ""
"His songs are essentially marketing for his services, so obviously the "
"further his songs spread, the better. Using CC licenses helps grease the "
"wheels, letting people know that Jonathan allows and encourages them to "
"copy, interact with, and remix his music.  <quote>If you let someone cover "
"your song or remix it or use parts of it, that’s how music is supposed to "
"work,</quote> Jonathan said. <quote>That is how music has worked since the "
"beginning of time. Our me-me, mine-mine culture has undermined that.</quote>"
msgstr ""
"Sangene hans er i hovedsak markedsføring av tjenestene hans, og det er "
"åpenbart at jo mere sangene spres, jo bedre. Å bruke CC-lisenser hjelper til "
"med å smøre hjulene, lar folk få vite at Jonathan tillater, og oppfordrer "
"dem til å kopiere og samhandle med, og remikse hans musikk. <quote>Hvis du "
"lar noen lage en coverlåt, remikser den, eller bruke deler av den, er det "
"hvordan musikk skal fungere</quote>, sier Jonathan. <quote>Det er hvordan "
"musikk har vært fra tidenes begynnelse. Vår meg-meg, min-min kultur har "
"undergravd det</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5882
msgid ""
"There are some people who cover his songs fairly regularly, and he would "
"never shut that down. But he acknowledges there is a lot more he could do to "
"build community. <quote>There is all of this conventional wisdom about how "
"to build an audience online, and I generally think I don’t do any of that,</"
"quote> Jonathan said."
msgstr ""
"Det er noen folk som lager sin egen variant av sangene hans ganske "
"regelmessig, og han ville aldri be dem slutte med det. Men han innser at det "
"er mye mer han kunne gjort for å bygge et fellesskap. <quote>Det er jo godt "
"kjent hvordan bygge sitt publikum på nettet, og generelt sett gjør jeg "
"ingenting av dette</quote>, sa Jonathan."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5889
#, fuzzy
#| msgid ""
#| "He does have a fan community he cultivates on Bandcamp, but it isn’t his "
#| "major focus. “I do have a core audience that has stuck around for a "
#| "really long time, some even longer than I’ve been doing song-a-day,” he "
#| "said. “There is also a transitional aspect that drop in and get what they "
#| "need and then move on.” Focusing less on community building than other "
#| "artists makes sense given Jonathan’s primary income source of writing "
#| "custom songs for clients."
msgid ""
"He does have a fan community he cultivates on Bandcamp, but it isn’t his "
"major focus. <quote>I do have a core audience that has stuck around for a "
"really long time, some even longer than I’ve been doing song-a-day,</quote> "
"he said. <quote>There is also a transitional aspect that drop in and get "
"what they need and then move on.</quote> Focusing less on community building "
"than other artists makes sense given Jonathan’s primary income source of "
"writing custom songs for clients."
msgstr ""
"Han har en fangruppe han dyrker på Bandcamp, men det er ikke hans "
"hovedfokus. <quote>Jeg har et kjernepublikum som har holdt fast i virkelig "
"lang tid, noen enda lenger enn jeg har laget en sang om dagen</quote>, sa "
"han. <quote>Det er også overganger der noen er innom og får det de trenger, "
"og deretter går videre</quote>. Å fokusere mindre på å bygge et fellesskap "
"enn andre artister er fornuftig, gitt at Jonathans primære inntektskilde er "
"å skrive egendefinerte sanger for klienter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5899
msgid ""
"Jonathan recognizes what comes naturally to him and leverages those skills. "
"Through the practice of daily songwriting, he realized he has a gift for "
"distilling complicated subjects into simple concepts and putting them to "
"music. In his song <quote>How to Choose a Master Password,</quote> Jonathan "
"explained the process of creating a secure password in a silly, simple song. "
"He was hired to write the song by a client who handed him a long technical "
"blog post from which to draw the information. Like a good (and rare) "
"journalist, he translated the technical concepts into something "
"understandable."
msgstr ""
"Jonathan vet hva som er enkelt for ham og utnytter disse ferdighetene. Ved "
"skrive nye låter hver dag, innså han at hadde evner for å gjøre kompliserte "
"temaer om til enkle begreper og ta dem i bruk i musikk. I hans sang "
"<quote>Hvordan velge et hovedpassord</quote> forklarte Jonathan prosessen "
"med å lage et trygt passord i en dum, enkel sang. Han ble ansatt for å "
"skrive sangen av en klient som ga ham et langt teknisk blogginnlegg der han "
"kunne hente informasjon. Som en god (og sjelden) journalist oversatte han "
"tekniske begreper til noe forståelig."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5911
#, fuzzy
#| msgid ""
#| "When he is hired by a client to write a song, he first asks them to send "
#| "a list of talking points and other information they want to include in "
#| "the song. He puts all of that into a text file and starts moving things "
#| "around, cutting and pasting until the message starts to come together. "
#| "The first thing he tries to do is grok the core message and develop the "
#| "chorus. Then he looks for connections or parts he can make rhyme. The "
#| "entire process really does resemble good journalism, but of course the "
#| "final product of his work is a song rather than news. <quote>There is "
#| "something about being challenged and forced to take information that "
#| "doesn’t seem like it should be sung about or doesn’t seem like it lends "
#| "itself to a song,</quote> he said. <quote>I find that creative challenge "
#| "really satisfying. I enjoy getting lost in that process.</quote>"
msgid ""
"When he is hired by a client to write a song, he first asks them to send a "
"list of talking points and other information they want to include in the "
"song. He puts all of that into a text file and starts moving things around, "
"cutting and pasting until the message starts to come together. The first "
"thing he tries to do is grok the core message and develop the chorus. Then "
"he looks for connections or parts he can make rhyme. The entire process "
"really does resemble good journalism, but of course the final product of his "
"work is a song rather than news. \"There is something about being challenged "
"and forced to take information that doesn’t seem like it should be sung about"
msgstr ""
"Når han har fått i oppdrag å skrive en sang for en klient, ber han dem først "
"om å sende en liste med samtalepunkter og annen informasjon som de ønsker å "
"ha med i sangen. Han legger alt dette inn i en tekstfil, og begynner å "
"flytte ting rundt omkring, klippe og lime, til budskapet begynner å samle "
"seg.  Det første han prøver å få taket på er kjernen i budskapet og å "
"utvikle refrenget. Så han ser han etter koblinger eller deler som kan rime. "
"Hele arbeidsprosessen ligner på god journalistikk, men sluttproduktet er "
"selvfølgelig en sang og ikke nyheter. <quote>Det er noe med å bli utfordret "
"og tvunget til å ta informasjon som ikke ser ut som om den skal synges om, "
"eller ser ut til å passe i en sang</quote>, sa han. <quote>Jeg synes at "
"denne kreative utfordringen er veldig tilfredsstillende. Jeg liker å fordype "
"meg i den prosessen</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5924
msgid ""
"or doesn’t seem like it lends itself to a song,\" he said.  <quote>I find "
"that creative challenge really satisfying. I enjoy getting lost in that "
"process.</quote>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5929
msgid ""
"Jonathan admits that in an ideal world, he would exclusively write the music "
"he wanted to write, rather than what clients hire him to write. But his "
"business model is about capitalizing on his strengths as a songwriter, and "
"he has found a way to keep it interesting for himself."
msgstr ""
"Jonathan innrømmer at i en ideell verden ville han bare skrive musikken han "
"ønsket å skrive, heller enn hva kunder ansetter ham for å skrive.  Men hans "
"forretningsmodell handler om å utnytte sin styrke som låtskriver, og han har "
"funnet en måte å holde det interessant for seg selv."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5936
#, fuzzy
#| msgid ""
#| "Jonathan uses nearly every tool possible to make money from his art, but "
#| "he does have lines he won’t cross. He won’t write songs about things he "
#| "fundamentally does not believe in, and there are times he has turned down "
#| "jobs on principle. He also won’t stray too much from his natural style. "
#| "“My style is silly, so I can’t really accommodate people who want "
#| "something super serious,” Jonathan said. “I do what I do very easily, and "
#| "it’s part of who I am.” Jonathan hasn’t gotten into writing commercials "
#| "for the same reasons; he is best at using his own unique style rather "
#| "than mimicking others."
msgid ""
"Jonathan uses nearly every tool possible to make money from his art, but he "
"does have lines he won’t cross. He won’t write songs about things he "
"fundamentally does not believe in, and there are times he has turned down "
"jobs on principle. He also won’t stray too much from his natural style. "
"<quote>My style is silly, so I can’t really accommodate people who want "
"something super serious,</quote> Jonathan said. <quote>I do what I do very "
"easily, and it’s part of who I am.</quote> Jonathan hasn’t gotten into "
"writing commercials for the same reasons; he is best at using his own unique "
"style rather than mimicking others."
msgstr ""
"Jonathan bruker nesten hvert eneste mulige verktøy for å tjene penger på sin "
"kunst, men han har grenser han ikke vil overskride. Han vil ikke skrive "
"sanger om ting han fundamentalt ikke tror på, og det prinsippet har til "
"tider ført til at han har avslått jobber. Han vil heller ikke gå for langt "
"fra sin naturlige stil. <quote>Min stil er enkel (<quote>dum</quote>), så "
"jeg kan egentlig ikke gi plass til  folk som ønsker noe supert alvorlig</"
"quote>, sier Jonathan. <quote>Jeg gjør det jeg gjør veldig lett, og det er "
"en del av hvem jeg er</quote>. Jonathan har ikke påtatt seg å skrive "
"reklamesnutter av samme grunn. Han er best på å bruke sin egen unike stil i "
"stedet for å etterligne andres."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5948
msgid ""
"Jonathan’s song-a-day commitment exemplifies the power of habit and grit. "
"Conventional wisdom about creative productivity, including advice in books "
"like the best-seller The Creative Habit by Twyla Tharp, routinely emphasizes "
"the importance of ritual and action. No amount of planning can replace the "
"value of simple practice and just doing. Jonathan Mann’s work is a living "
"embodiment of these principles."
msgstr ""
"Jonathans en sang-hver-dag-forpliktelse (a song-a-day commitment) "
"eksemplifiserer kraften av vane og gnissel (mot). Konvensjonell visdom om "
"kreativ produktivitet, medregnet råd i bøker som bestselgeren The Creative "
"Habit av Twyla Tharp, understreker rutinemessig viktigheten av ritual og "
"handling. Ingen planlegging kan erstatte verdien av enkel praksis og det å "
"bare gjøre. Jonathan Manns arbeid er en levende legemliggjøring av disse "
"prinsippene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5957
msgid ""
"When he speaks about his work, he talks about how much the song-a-day "
"process has changed him. Rather than seeing any given piece of work as "
"precious and getting stuck on trying to make it perfect, he has become "
"comfortable with just doing. If today’s song is a bust, tomorrow’s song "
"might be better."
msgstr ""
"Når han snakker om sitt arbeid, snakker han om hvor mye en sang-om-dagen-"
"prosessen har endret ham. Mer enn å se et hvilket som helst arbeid som "
"edelt, og bli sittende fast i å gjøre det perfekt, har han blitt komfortabel "
"med bare å gjøre det. Hvis sangen i dag er en miss, kan morgendagens sang "
"bli bedre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5964
msgid ""
"Jonathan seems to have this mentality about his career more generally. He is "
"constantly experimenting with ways to make a living while sharing his work "
"as widely as possible, seeing what sticks. While he has major "
"accomplishments he is proud of, like being in the Guinness World Records or "
"having his song used by Steve Jobs, he says he never truly feels successful."
msgstr ""
"Jonathan synes å ha denne mentaliteten om sin karrière mer generelt.  Han "
"eksperimenterer stadig med måter å leve på, mens han deler sitt arbeid så "
"mye som mulig, og ser hva som holder vann. Mens han har prestasjoner han er "
"stolt av, som å være i Guinness rekordbok, eller har sin sang som ble brukt "
"av Steve Jobs, sier han at aldri føler seg virkelig vellykket."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5971
msgid ""
"<quote>Success feels like it’s over,</quote> he said. <quote>To a certain "
"extent, a creative person is not ever going to feel completely satisfied "
"because then so much of what drives you would be gone.</quote>"
msgstr ""
"<quote>Suksess føles som om det er slutt</quote>, sa han. <quote>Til en viss "
"grad vil en kreativ person aldri noensinne føle seg helt fornøyd, fordi da "
"vil så mye av det vedkommende driver med være borte.</quote>"

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5978
msgid "Noun Project"
msgstr "Noun-prosjektet"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5981
msgid ""
"The Noun Project is a for-profit company offering an online platform to "
"display visual icons from a global network of designers. Founded in 2010 in "
"the U.S."
msgstr ""
"Noun-prosjektet er et kommersielt selskap som tilbyr en nettplattform som "
"viser visuelle ikoner fra et globalt nettverk av designere. Stiftet i 2010 i "
"USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5986
msgid "<ulink url=\"http://thenounproject.com\"/>"
msgstr "<ulink url=\"http://thenounproject.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5988
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging a transaction "
"fee, charging for custom services"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling av et "
"transaksjonsgebyr, betaling for tilpassede tjenester"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5991
msgid "<emphasis role=\"strong\">Interview date</emphasis>: October 6, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 6. oktober 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5994
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Edward Boatman, cofounder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Edward Boatman, "
"medgrunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6002
msgid ""
"The Noun Project creates and shares visual language. There are millions who "
"use Noun Project symbols to simplify communication across borders, "
"languages, and cultures."
msgstr ""
"Noun-prosjektet oppretter og deler visuelt språk. Det er millioner som "
"bruker symboler fra Noun-prosjektet til å forenkle kommunikasjon på tvers av "
"grenser, språk og kulturer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6007
msgid ""
"The original idea for the Noun Project came to cofounder Edward Boatman "
"while he was a student in architecture design school. He’d always done a lot "
"of sketches and started to draw what used to fascinate him as a child, like "
"trains, sequoias, and bulldozers.  He began thinking how great it would be "
"if he had a simple image or small icon of every single object or concept on "
"the planet."
msgstr ""
"Den opprinnelige ideen til Noun-prosjektet fikk medgrunnlegger Edward "
"Boatman da han var student på skolen for arkitekturdesign. Han hadde alltid "
"laget mange skisser, og begynte å trekke på det som fascinerte ham som barn; "
"som tog, redwood-trær (kjempesequoiatrær) og bulldosere. Han begynte å tenke "
"på hvor flott det ville være om han hadde et enkelt bilde eller lite ikon "
"for hvert enkelt objekt eller begrep i verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6015
msgid ""
"When Edward went on to work at an architecture firm, he had to make a lot of "
"presentation boards for clients. But finding high-quality sources for "
"symbols and icons was difficult. He couldn’t find any website that could "
"provide them. Perhaps his idea for creating a library of icons could "
"actually help people in similar situations."
msgstr ""
"Når Edward dro til jobben i et arkitektfirma, måtte han lage en mengde "
"presentasjonsoppsett for klienter. Men å finne høykvalitetskilder for "
"symboler og ikoner var vanskelig. Han kunne ikke finne noe nettsted som "
"kunne skaffe dem. Kanskje kunne hans idé om å lage et ikon-bibliotek faktisk "
"hjelpe dem som var i lignende situasjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6023
msgid ""
"With his partner, Sofya Polyakov, he began collecting symbols for a website "
"and writing a business plan. Inspiration came from the book Professor and "
"the Madman, which chronicles the use of crowdsourcing to create the Oxford "
"English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and "
"symbols from volunteer designers around the world."
msgstr ""
"Med sin partner, Sofya Polyakov, begynte han å samle symboler til et "
"nettsted, og skrive en forretningsplan. Inspirasjonen kom fra boken "
"<quote>Professoren og galningen</quote>, som nedtegner bruken av "
"folkefinansiering for å lage Oxford English Dictionary i 1870. Edward "
"begynte å forestille seg folkefinansiering av ikoner og symboler fra "
"frivillige designere over hele verden."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6034
msgid ""
"<ulink url=\"http://www.kickstarter.com/projects/tnp/building-a-free-"
"collection-of-our-worlds-visual-sy/description\"/>"
msgstr ""
"<ulink url=\"http://www.kickstarter.com/projects/tnp/building-a-free-"
"collection-of-our-worlds-visual-sy/description\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6031
msgid ""
"Then Edward got laid off during the recession, which turned out to be a huge "
"catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya "
"launched the Noun Project with a Kickstarter campaign, back when Kickstarter "
"was in its infancy.<placeholder type=\"footnote\" id=\"0\"/> They thought "
"it’d be a good way to introduce the global web community to their idea. "
"Their goal was to raise $1,500, but in twenty days they got over $14,000. "
"They realized their idea had the potential to be something much bigger."
msgstr ""
"Så ble Edward permittert i nedgangstiden, noe som viste seg å være en viktig "
"katalysator. Han bestemte seg å gi sin idé en sjanse, og i 2010 lanserte "
"Edward og Sofya Noun-prosjektet med en Kickstarter-kampanje, den gang "
"Kickstarter var i sin barndom.<placeholder type=\"footnote\" id=\"0\"/> De "
"trodde det ville være en god måte å introdusere deres idé for det globale "
"nettsamfunnet. Målet var å få inn $1,500, men på tjue dager de fikk over "
"$14,000. Da skjønte de at ideen deres hadde potensiale til å bli noe mye "
"større."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6040
#, fuzzy
#| msgid ""
#| "They created a platform where symbols and icons could be uploaded, and "
#| "Edward began recruiting talented designers to contribute their designs, a "
#| "process he describes as a relatively easy sell. Lots of designers have "
#| "old drawings just gathering “digital dust” on their hard drives. It’s "
#| "easy to convince them to finally share them with the world."
msgid ""
"They created a platform where symbols and icons could be uploaded, and "
"Edward began recruiting talented designers to contribute their designs, a "
"process he describes as a relatively easy sell. Lots of designers have old "
"drawings just gathering <quote>digital dust</quote> on their hard drives. "
"It’s easy to convince them to finally share them with the world."
msgstr ""
"De laget en plattform der symboler og ikoner kan lastes opp, og Edward "
"begynte å rekruttere talentfulle designere til å bidra med sin design, en "
"prosess som han beskriver som relativt lett å selge. Mange designere har "
"gamle tegninger som bare samlet <quote>\"digitalt støv</quote> på "
"harddiskene sine. Det er lett å overbevise dem om endelig å dele dem med "
"verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6048
msgid ""
"The Noun Project currently has about seven thousand designers from around "
"the world. But not all submissions are accepted. The Noun Project’s quality-"
"review process means that only the best works become part of its collection. "
"They make sure to provide encouraging, constructive feedback whenever they "
"reject a piece of work, which maintains and builds the relationship they "
"have with their global community of designers."
msgstr ""
"Noun-prosjektet har i dag om lag syv tusen designere fra hele verden. Men "
"ikke alle innleveringer er tillatt. Noun-prosjektet har en kvalitetskontroll "
"som betyr at bare de beste arbeidene blir en del av samlingen. De sørger for "
"å gi oppmuntrende, konstruktive tilbakemeldinger når de avviser et arbeid, "
"som bibeholder og bygger videre på forholdet de har med sitt globale "
"fellesskap av designere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6057
msgid ""
"Creative Commons is an integral part of the Noun Project’s business model; "
"this decision was inspired by Chris Anderson’s book Free: The Future of "
"Radical Price, which introduced Edward to the idea that you could build a "
"business model around free content."
msgstr ""
"Creative Commons er en integrert del i Noun-prosjektet sin "
"forretningsmodell; denne beslutningen ble inspirert av Chris Andersons bok "
"Free: The Future of Radical Price, som ga Edward ideen om at du kan bygge en "
"forretningsmodell rundt gratis innhold."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6064
msgid ""
"Edward knew he wanted to offer a free visual language while still providing "
"some protection and reward for its contributors. There is a tension between "
"those two goals, but for Edward, Creative Commons licenses bring this "
"idealism and business opportunity together elegantly. He chose the "
"Attribution (CC BY) license, which means people can download the icons for "
"free and modify them and even use them commercially. The requirement to give "
"attribution to the original creator ensures that the creator can build a "
"reputation and get global recognition for their work. And if they simply "
"want to offer an icon that people can use without having to give credit, "
"they can use CC0 to put the work into the public domain."
msgstr ""
"Edward visste at han ønsket å tilby et gratis visuelt språk samtidig som det "
"ble gitt noe beskyttelse og belønning for bidragsytere. Det er en spenning "
"mellom disse to målene. For Edward bringer Creative Commons-lisensene denne "
"idealismen og forretningsmuligheten elegant sammen. Han valgte Attribution "
"(CC BY)-lisensen, som betyr at folk kan laste ned ikoner gratis, og endre "
"dem, og også bruke dem kommersielt. Kravet om å henvise til den opprinnelige "
"kreative personen sikrer at skaperen kan bygge et omdømme, og få global "
"anerkjennelse for sitt arbeid. Hvis de bare vil tilby et ikon som folk kan "
"bruke uten å gi noen kreditt for det, kan de bruke CC0 til å legge arbeidet "
"ut i det offentlige rom."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6078
#, fuzzy
#| msgid ""
#| "Noun Project’s business model and means of generating revenue have "
#| "evolved significantly over time. Their initial plan was to sell T-shirts "
#| "with the icons on it, which in retrospect Edward says was a horrible "
#| "idea. They did get a lot of email from people saying they loved the icons "
#| "but asking if they could pay a fee instead of giving attribution. Ad "
#| "agencies (among others) wanted to keep marketing and presentation "
#| "materials clean and free of attribution statements. For Edward, “That’s "
#| "when our lightbulb went off.”"
msgid ""
"Noun Project’s business model and means of generating revenue have evolved "
"significantly over time. Their initial plan was to sell T-shirts with the "
"icons on it, which in retrospect Edward says was a horrible idea. They did "
"get a lot of email from people saying they loved the icons but asking if "
"they could pay a fee instead of giving attribution. Ad agencies (among "
"others) wanted to keep marketing and presentation materials clean and free "
"of attribution statements. For Edward, <quote>That’s when our lightbulb went "
"off.</quote>"
msgstr ""
"Noun-prosjektets forretningsmodell og metode for å generere inntekter har "
"utviklet seg signifikant over tid. Deres opprinnelige plan var å selge T-"
"skjorter med ikoner, som Edward i ettertid sier var en forferdelig idé. De "
"fikk en masse e-post fra folk sier de elsket ikonene. Men spurte om de kunne "
"betale et gebyr i stedet for å gi referanse.  Reklamebyråer ønsket (blant "
"andre) å holde markedsføring og presentasjonsmateriale rent og uten "
"referanseuttalelser. For Edward: <quote>Det var da lyspæren vår sa poff</"
"quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6089
msgid ""
"They asked their global network of designers whether they’d be open to "
"receiving modest remuneration instead of attribution.  Designers saw it as a "
"win-win. The idea that you could offer your designs for free and have a "
"global audience and maybe even make some money was pretty exciting for most "
"designers."
msgstr ""
"De spurte sitt globale nettverk av designere om de ville være åpne for å "
"motta en beskjeden godtgjørelse i stedet for referanse. Designere så det som "
"en vinn-vinn-situasjon. Ideen om at du kan tilby design gratis og ha et "
"globalt publikum, og kanskje til og med tjene litt penger, var ganske "
"spennende for de fleste designere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6096
msgid ""
"The Noun Project first adopted a model whereby using an icon without giving "
"attribution would cost $1.99 per icon. The model’s second iteration added a "
"subscription component, where there would be a monthly fee to access a "
"certain number of icons—ten, fifty, a hundred, or five hundred. However, "
"users didn’t like these hard-count options. They preferred to try out many "
"similar icons to see which worked best before eventually choosing the one "
"they wanted to use. So the Noun Project moved to an unlimited model, whereby "
"users have unlimited access to the whole library for a flat monthly fee. "
"This service is called NounPro and costs $9.99 per month. Edward says this "
"model is working well—good for customers, good for creators, and good for "
"the platform."
msgstr ""
"Noun-prosjektet adopterte først en modell der å bruke et symbol uten å gi "
"referanse ville koste 1,99 dollar per ikon. Modellens andre trinn er å legge "
"til en abonnementskomponent, der det vil være en månedlig avgift opp til et "
"visst antall ikoner - ti, femti, hundre eller fem hundre. Imidlertid likte "
"ikke brukere disse skarpe telle-alternativene. De foretrakk å prøve ut mange "
"lignende ikoner for å se hva som fungerte best før de til slutt velger den "
"de ville bruke. Så Noun-prosjektet flyttet over til en ubegrenset modell, "
"der brukerne har ubegrenset tilgang til hele biblioteket for en fast "
"månedsavgift. Denne tjenesten kalles NounPro og koster 9,99 dollar per "
"måned. Edward sier denne modellen fungerer bra: Bra for kunder, bra for "
"skapere, og bra for plattformen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6110
#, fuzzy
#| msgid ""
#| "Customers then began asking for an application-programming interface "
#| "(API), which would allow Noun Project icons and symbols to be directly "
#| "accessed from within other applications. Edward knew that the icons and "
#| "symbols would be valuable in a lot of different contexts and that they "
#| "couldn’t possibly know all of them in advance, so they built an API with "
#| "a lot of flexibility.  Knowing that most API applications would want to "
#| "use the icons without giving attribution, the API was built with the aim "
#| "of charging for its use. You can use what’s called the “Playground API” "
#| "for free to test how it integrates with your application, but full "
#| "implementation will require you to purchase the API Pro version."
msgid ""
"Customers then began asking for an application-programming interface (API), "
"which would allow Noun Project icons and symbols to be directly accessed "
"from within other applications. Edward knew that the icons and symbols would "
"be valuable in a lot of different contexts and that they couldn’t possibly "
"know all of them in advance, so they built an API with a lot of "
"flexibility.  Knowing that most API applications would want to use the icons "
"without giving attribution, the API was built with the aim of charging for "
"its use. You can use what’s called the <quote>Playground API</quote> for "
"free to test how it integrates with your application, but full "
"implementation will require you to purchase the API Pro version."
msgstr ""
"Kundene begynte så å be om en grenseflate med et programmeringsverktøy (API "
"- Application Programming Interface ), som ville tillate direkte tilgang til "
"Noun-prosjektets ikoner og symboler fra andre programmer. Edward visste at "
"ikonene og symbolene ville være verdifulle i mange ulike sammenhenger, og at "
"det var umulig å vite hvilke  på forhånd, så de bygde en API med mye "
"fleksibilitet. De visste  at de fleste API-programmer ønsker å bruke ikonene "
"uten referanse, og API ble derfor bygget uten å kunne gi referanser. Du kan "
"bruke gratis det som kalles <quote>Playgound API</quote> for å teste hvordan "
"den passer med hva du skal bruke den til. Men full implementering vil kreve "
"kjøp av en API Pro-versjon."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6124
msgid ""
"The Noun Project shares revenue with its international designers.  For one-"
"off purchases, the revenue is split 70 percent to the designer and 30 "
"percent to Noun Project."
msgstr ""
"Noun-prosjektet deler inntektene med sine internasjonale designere. For "
"engangskjøp deles inntektene 70 prosent til designer og 30 prosent til Noun-"
"prosjektet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6129
msgid ""
"The revenue from premium purchases (the subscription and API options) is "
"split a little differently. At the end of each month, the total revenue from "
"subscriptions is divided by Noun Project’s total number of downloads, "
"resulting in a rate per download—for example, it could be $0.13 per download "
"for that month. For each download, the revenue is split 40 percent to the "
"designer and 60 percent to the Noun Project. (For API usage, it’s per use "
"instead of per download.) Noun Project’s share is higher this time as it’s "
"providing more service to the user."
msgstr ""
"Inntektene fra premiumkjøp (abonnement og API-alternativene) deles litt "
"annerledes. På slutten av hver måned, deles den totale inntekten fra "
"abonnementer på Noun-prosjektets samlede antall  nedlastinger, noe som gir "
"en pris pr. nedlasting; - for eksempel kan det bli 0,13 dollar pr. "
"nedlasting for denne måneden. For hver nedlasting deles inntektene 40 "
"prosent til designer og 60 prosent til Noun-prosjektet.  (For API-bruk er "
"det pr. bruk, i stedet for pr. nedlasting.) Noun-prosjektets andel er høyere "
"denne gangen, etter som det stiller opp med en større andel av tjenesten til "
"brukeren."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6141
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6213
msgid ""
"<ulink url=\"http://thenounproject.com/handbook/royalties/#getting_paid\"/>"
msgstr ""
"<ulink url=\"http://thenounproject.com/handbook/royalties/#getting_paid\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6140
msgid ""
"The Noun Project tries to be completely transparent about their royalty "
"structure.<placeholder type=\"footnote\" id=\"0\"/> They tend to over "
"communicate with creators about it because building trust is the top "
"priority."
msgstr ""
"Noun-prosjektet prøver å være helt åpne om hvilken struktur godtgjøringen "
"har.<placeholder type=\"footnote\" id=\"0\"/> De pleier å overkommunisere "
"dette overfor innholdsleverandørene da tillitsbygging har høyeste prioritet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6145
msgid ""
"For most creators, contributing to the Noun Project is not a full-time job "
"but something they do on the side. Edward categorizes monthly earnings for "
"creators into three broad categories: enough money to buy beer; enough to "
"pay the bills; and most successful of all, enough to pay the rent."
msgstr ""
"For de fleste innholdsleverandører som bidrar til Noun-prosjektet er det "
"ikke en fulltidsjobb, men noe som kommer i tillegg. Edward kategoriserer "
"månedslønnen for leverandørene i tre hovedkategorier: Nok penger til å kjøpe "
"øl, nok til å betale regningene, og de mest vellykkede av alle, nok til å "
"betale husleien."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6152
msgid ""
"Recently the Noun Project launched a new app called Lingo.  Designers can "
"use Lingo to organize not just their Noun Project icons and symbols but also "
"their photos, illustrations, UX designs, et cetera. You simply drag any "
"visual item directly into Lingo to save it. Lingo also works for teams so "
"people can share visuals with each other and search across their combined "
"collections. Lingo is free for personal use. A pro version for $9.99 per "
"month lets you add guests. A team version for $49.95 per month allows up to "
"twenty-five team members to collaborate, and to view, use, edit, and add new "
"assets to each other’s collections.  And if you subscribe to NounPro, you "
"can access Noun Project from within Lingo."
msgstr ""
"Noun-prosjektet lanserte nylig en ny app kalt Lingo. Designere kan bruke "
"Lingo til å organisere ikke bare sine egne ikoner og symboler i Noun-"
"prosjektet, men også sine egne bilder, illustrasjoner, "
"brukergrensesnittutforminger, og så videre. Du bare drar visuelle elementer "
"direkte inn i  Lingo og lagrer dem. Lingo fungerer også for team slik at "
"folk kan dele bilder med hverandre og søke gjennom sine kombinerte "
"samlinger. Lingo er gratis til personlig bruk. I en pro-versjon for 9,99 "
"dollar pr. måned kan du legge til gjester. En team-versjon til $ 49,95 pr. "
"måned lar opptil til tjuefem gruppemedlemmer samarbeide - og vise, bruke, "
"redigere og legge til nye ressurser i andres samlinger.  Og hvis du "
"abonnerer på NounPro, kan du åpne Noun-prosjektet direkte fra Lingo."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6166
msgid ""
"The Noun Project gives a ton of value away for free. A very large percentage "
"of their roughly one million members have a free account, but there are "
"still lots of paid accounts coming from digital designers, advertising and "
"design agencies, educators, and others who need to communicate ideas "
"visually."
msgstr ""
"Noun-prosjektet gir massevis av verdi bort gratis. En svært stor andel av "
"deres omtrent en million medlemmer har en gratis konto, men det er fortsatt "
"mange betalte kontoer fra digital designere, reklame- og designbyråer, "
"lærere og andre som trenger å kommunisere ideer visuelt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6173
#, fuzzy
#| msgid ""
#| "For Edward, “creating, sharing, and celebrating the world’s visual "
#| "language” is the most important aspect of what they do; it’s their stated "
#| "mission. It differentiates them from others who offer graphics, icons, or "
#| "clip art."
msgid ""
"For Edward, <quote>creating, sharing, and celebrating the world’s visual "
"language</quote> is the most important aspect of what they do; it’s their "
"stated mission. It differentiates them from others who offer graphics, "
"icons, or clip art."
msgstr ""
"For Edward er <quote>å lage, dele og feire verdens visuell språk</quote> det "
"viktigste ved hva de gjør; det er deres uttalte formål. Det skiller dem fra "
"andre som tilbyr grafikk, ikoner eller utklipp."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6179
msgid ""
"Noun Project creators agree. When surveyed on why they participate in the "
"Noun Project, this is how designers rank their reasons: 1)  to support the "
"Noun Project mission, 2) to promote their own personal brand, and 3) to "
"generate money. It’s striking to see that money comes third, and mission, "
"first. If you want to engage a global network of contributors, it’s "
"important to have a mission beyond making money."
msgstr ""
"Noun-prosjektets designere er enige. Når det kartlegges hvorfor de deltar i "
"Noun-prosjektet, rangerer designere sine grunner slik: 1) for å støtte Noun-"
"prosjektets hovedoppgave, 2) for å fremme sin egen personlige merkevare, og "
"3) for å tjene penger. Det er påfallende å se at pengene kommer på "
"tredjeplass og hovedoppgaven først. Hvis du ønsker å engasjere et globalt "
"nettverk av bidragsytere, er det viktig å ha et oppdrag utover det å tjene "
"penger."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6188
msgid ""
"In Edward’s view, Creative Commons is central to their mission of sharing "
"and social good. Using Creative Commons makes the Noun Project’s mission "
"genuine and has generated a lot of their initial traction and credibility. "
"CC comes with a built-in community of users and fans."
msgstr ""
"Fra Edvards synspunkt er Creative Commons sentral i deres hovedoppgave med å "
"dele og gi sosial nytte. Å bruke Creative Commons gjør Noun-prosjektets "
"oppdrag genuint, og innledningsvis genererte det mye trekkraft og "
"troverdighet. CC kommer med et innebygd fellesskap med brukere og tilhengere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6195
#, fuzzy
#| msgid ""
#| "Edward told us, “Don’t underestimate the power of a passionate community "
#| "around your product or your business. They are going to go to bat for you "
#| "when you’re getting ripped in the media. If you go down the road of "
#| "choosing to work with Creative Commons, you’re taking the first step to "
#| "building a great community and tapping into a really awesome community "
#| "that comes with it. But you need to continue to foster that community "
#| "through other initiatives and continue to nurture it.”"
msgid ""
"Edward told us, <quote>Don’t underestimate the power of a passionate "
"community around your product or your business. They are going to go to bat "
"for you when you’re getting ripped in the media. If you go down the road of "
"choosing to work with Creative Commons, you’re taking the first step to "
"building a great community and tapping into a really awesome community that "
"comes with it. But you need to continue to foster that community through "
"other initiatives and continue to nurture it.</quote>"
msgstr ""
"Edward fortalte oss <quote>Ikke undervurder kraften i et kraftig engasjert "
"fellesskap rundt produktet eller firmaet. De vil virkelig kjempe for deg om "
"du blir hengt ut i media. Hvis du går i gang og velger å arbeide med "
"Creative Commons, tar du det første skrittet til å bygge et stort "
"fellesskap, og plugger deg til et virkelig fantastisk fellesskap følger med. "
"Men du må fortsette å fostre det fellesskapet med andre initiativer, og "
"fortsette å gi det næring</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6205
msgid ""
"The Noun Project nurtures their creators’ second motivation—promoting a "
"personal brand—by connecting every icon and symbol to the creator’s name and "
"profile page; each profile features their full collection. Users can also "
"search the icons by the creator’s name."
msgstr ""
"Noun-prosjektet fremmer den andre motivasjonen til dem som laget det; å "
"fremme en personlig merkevare – ved å koble hvert ikon og symbol til "
"designerens navn og profilside. Hver profil viser hele samlingen deres. "
"Brukerne kan også søke i ikonene etter designerens navn."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6212
msgid ""
"The Noun Project also builds community through Iconathons—hackathons for "
"icons.<placeholder type=\"footnote\" id=\"0\"/> In partnership with a "
"sponsoring organization, the Noun Project comes up with a theme (e.g., "
"sustainable energy, food bank, guerrilla gardening, human rights) and a list "
"of icons that are needed, which designers are invited to create at the "
"event.  The results are vectorized, and added to the Noun Project using CC0 "
"so they can be used by anyone for free."
msgstr ""
"Noun-prosjektet bygger også fellesskap gjennom Iconathoner – hackathon/"
"utviklersamlinger med fokus på ikoner.<placeholder type=\"footnote\" id="
"\"0\"/> I samarbeid med en sponsororganisasjon kommer Noun-prosjektet opp "
"med et tema (f.eks bærekraftig energi, matbank, gerilja-dyrking, "
"menneskerettigheter) og en liste over ikoner som trengs.  Designere blir så "
"invitert til å lage ikoner arrangementet, og resultatet gjøres om til "
"vektortegninger  og legges til Noun-prosjektet med CC0-lisens slik at de kan "
"brukes gratis av alle."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6221
msgid ""
"Providing a free version of their product that satisfies a lot of their "
"customers’ needs has actually enabled the Noun Project to build the paid "
"version, using a service-oriented model. The Noun Project’s success lies in "
"creating services and content that are a strategic mix of free and paid "
"while staying true to their mission—creating, sharing, and celebrating the "
"world’s visual language. Integrating Creative Commons into their model has "
"been key to that goal."
msgstr ""
"Å gi en gratis produktversjon som tilfredsstiller mange kunders behov, har "
"faktisk gjort det mulig for Noun-prosjektet å bygge en betalt versjon med en "
"serviceorientert modell. Noun-prosjektets suksess ligger i å skape tjenester "
"og innhold som er en strategisk blanding av gratis og betalt,og samtidig "
"være tro mot sitt oppdrag – å skape, dele og feire verdens visuelle språk. Å "
"integrere Creative Commons i modellen har vært nøkkelen til å nå dette målet."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6232
msgid "Open Data Institute"
msgstr "Open Data-instituttet"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6235
msgid ""
"The Open Data Institute is an independent nonprofit that connects, equips, "
"and inspires people around the world to innovate with data. Founded in 2012 "
"in the UK."
msgstr ""
"Open Data Institute er et uavhengig nonprofit foretak som kobler, utstyrer "
"og inspirerer folk rundt om i verden til å innovere med data. Grunnlagt i "
"2012 i Storbritannia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6240
msgid "<ulink url=\"http://theodi.org\"/>"
msgstr "<ulink url=\"http://theodi.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6242
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grant and government "
"funding, charging for custom services, donations"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Stipendier  og "
"offentlig finansiering, betaling for tilpassede tjenester, donasjoner"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6245
msgid "<emphasis role=\"strong\">Interview date</emphasis>: November 11, 2015"
msgstr "<emphasis role=\"strong\">Intervjudato</emphasis>: 11. november 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6248
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Jeni Tennison, technical "
"director"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Jeni Tennison, teknisk "
"direktør"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6256
msgid ""
"Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the London-"
"based Open Data Institute (ODI) offers data-related training, events, "
"consulting services, and research. For ODI, Creative Commons licenses are "
"central to making their own business model and their customers’ open. CC BY "
"(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the "
"public domain)  all play a critical role in ODI’s mission to help people "
"around the world innovate with data."
msgstr ""
"Det London-baserte Open Data Institute (ODI) ble etablert av Sir Tim Berners-"
"Lee og Sir Nigel Shadbolt i 2012, og tilbyr datatrening, arrangementer, "
"konsulenttjenester og forskning. For ODI er Creative Commons-lisenser "
"sentrale både når de lager sin egen forretningsmodell og de kundene deres "
"lager. CC BY (Attribution), CC BY-SA (Attribution-ShareAlike), og CC0 "
"(plassert i det offentlige rom), alle har en avgjørende rolle i ODIs oppgave "
"å hjelpe folk rundt i verden å innovere med data."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6266
msgid ""
"Data underpins planning and decision making across all aspects of society. "
"Weather data helps farmers know when to plant their crops, flight time data "
"from airplane companies helps us plan our travel, data on local housing "
"informs city planning. When this data is not only accurate and timely, but "
"open and accessible, it opens up new possibilities. Open data can be a "
"resource businesses use to build new products and services. It can help "
"governments measure progress, improve efficiency, and target investments. It "
"can help citizens improve their lives by better understanding what is "
"happening around them."
msgstr ""
"Data underbygger planlegging og beslutningsprosesser på alle "
"samfunnsområder. Værdata hjelper bønder til å å vite når de skal plante sine "
"avlinger, flytidsdata fra flyselskaper hjelper oss å planlegge vår reise, "
"data om lokale boliger informerer om byplanleggingen. Når dataene er ikke "
"bare nøyaktige og og i rett tid, men er åpne og tilgjengelige, åpnes nye "
"muligheter. Åpne data kan være en ressurs for bedrifter til å bygge nye "
"produkter og tjenester. De kan hjelpe regjeringer til å måle fremgang, "
"forbedre effektiviteten og målrette investeringer. Det kan hjelpe borgere "
"til å forbedre sine liv ved å bedre forstå hva som skjer rundt dem."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6278
msgid ""
"The Open Data Institute’s 2012–17 business plan starts out by describing its "
"vision to establish itself as a world-leading center and to research and be "
"innovative with the opportunities created by the UK government’s open data "
"policy. (The government was an early pioneer in open policy and open-data "
"initiatives.) It goes on to say that the ODI wants to—"
msgstr ""
"Open Data Institutet sin forretningsplan for 2012 – 2017 starter ved å "
"beskrive visjonen om å etablere seg som et verdensledende senter, og å "
"forske og være nyskapende med mulighetene som åpner seg med den britiske "
"regjeringens åpne datapolitikk. (Regjeringen var en pioner i åpen politikk "
"og åpne-data-initiativer.) Den fortsetter med å si at ODI vil –"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6288
msgid ""
"demonstrate the commercial value of open government data and how open-data "
"policies affect this;"
msgstr ""
"demonstrere den kommersielle verdien av åpne offentlige data, og hvordan "
"åpen data-politikk berører dette;"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6294
msgid "develop the economic benefits case and business models for open data;"
msgstr ""
"utvikle eksempler på de økonomiske fordelene – og forretningsmodeller for "
"åpne data;"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6300
msgid "help UK businesses use open data; and"
msgstr "hjelpe britiske bedrifter å bruke åpne data; og"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6305
msgid ""
"<ulink url=\"http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6."
"cf3.rackcdn.com/odi-business-plan-may-release.pdf\"/>"
msgstr ""
"<ulink url=\"http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6."
"cf3.rackcdn.com/odi-business-plan-may-release.pdf\"/>"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6305
msgid ""
"show how open data can improve public services.<placeholder type=\"footnote"
"\" id=\"0\"/>"
msgstr ""
"vise hvordan åpne data kan forbedre offentlige tjenester.<placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6310
#, fuzzy
#| msgid ""
#| "ODI is very explicit about how it wants to make open business models, and "
#| "defining what this means. Jeni Tennison, ODI’s technical director, puts "
#| "it this way: “There is a whole ecosystem of open—open-source software, "
#| "open government, open-access research—and a whole ecosystem of data. "
#| "ODI’s work cuts across both, with an emphasis on where they overlap—with "
#| "open data.” ODI’s particular focus is to show open data’s potential for "
#| "revenue."
msgid ""
"ODI is very explicit about how it wants to make open business models, and "
"defining what this means. Jeni Tennison, ODI’s technical director, puts it "
"this way: <quote>There is a whole ecosystem of open—open-source software, "
"open government, open-access research—and a whole ecosystem of data. ODI’s "
"work cuts across both, with an emphasis on where they overlap—with open data."
"</quote> ODI’s particular focus is to show open data’s potential for revenue."
msgstr ""
"ODI er veldig klar på hvordan de ønsker å lage åpne forretningsmodeller, og "
"definere hva dette betyr. Jeni Tennison, ODIs tekniske direktør, sier det "
"slik: <quote>Det er et helt åpent økosystem  – fri programvare, åpen "
"regjering, åpen tilgang til forskning – og et helt økosystem av data. ODIs "
"arbeid går tvers over begge, med vekten på der de overlapper – med åpen "
"data</quote>. ODIs særlige fokus er å vise åpne datas potensiale for å gi "
"inntekter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6320
msgid ""
"As an independent nonprofit, ODI secured £10 million over five years from "
"the UK government via Innovate UK, an agency that promotes innovation in "
"science and technology. For this funding, ODI has to secure matching funds "
"from other sources, some of which were met through a $4.75-million "
"investment from the Omidyar Network."
msgstr ""
"Som et uavhengig nonprofit-foretak sikret ODI seg £ 10 millioner over fem år "
"fra den britiske regjeringen via Innovate UK, et byrå som fremmer innovasjon "
"innen vitenskap og teknologi. Med denne finansiering må ODI sikre seg "
"tilsvarende midler fra andre kilder, der noen ble oppnådd ved en $ 4,75 "
"millioner investering fra Omidyar Network."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6328
msgid ""
"Jeni started out as a developer and technical architect for data.gov.uk, the "
"UK government’s pioneering open-data initiative.  She helped make data sets "
"from government departments available as open data. She joined ODI in 2012 "
"when it was just starting up, as one of six people. It now has a staff of "
"about sixty."
msgstr ""
"Jeni startet som utvikler og teknisk arkitekt for data.gov.uk, den britiske "
"regjeringens banebrytende åpne-data-initiativ.  Hun hjalp til med å gjøre "
"datasett fra regjeringens avdelinger tilgjengelige åpne data. Hun begynte "
"ODI i 2012 i oppstartfasen, som en av seks personer. Nå er det rundt seksti "
"ansatte."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6335
msgid ""
"ODI strives to have half its annual budget come from the core UK government "
"and Omidyar grants, and the other half from project-based research and "
"commercial work. In Jeni’s view, having this balance of revenue sources "
"establishes some stability, but also keeps them motivated to go out and "
"generate these matching funds in response to market needs."
msgstr ""
"ODI bestreber seg på at halvdelen av det årlige budsjett skal komme fra UKs "
"regjering og donasjoner fra Omidyar, og den andre halvdelen fra prosjekt-"
"basert forskning og kommersielle oppdrag. Etter Jenis syn, har denne "
"balansen i  inntektskilder gitt noe stabilitet, men den holder dem også "
"motivert til å gå ut og generere tilsvarende inntekter som svar på behov i "
"markedet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6343
msgid ""
"On the commercial side, ODI generates funding through memberships, training, "
"and advisory services."
msgstr ""
"På den kommersielle siden genererer ODI inntekter ved medlemskap, opplæring "
"og rådgivning."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6358
msgid "<ulink url=\"http://directory.theodi.org/members\"/>"
msgstr "<ulink url=\"http://directory.theodi.org/members\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6347
msgid ""
"You can join the ODI as an individual or commercial member.  Individual "
"membership is pay-what-you-can, with options ranging from £1 to £100. "
"Members receive a newsletter and related communications and a discount on "
"ODI training courses and the annual summit, and they can display an ODI-"
"supporter badge on their website. Commercial membership is divided into two "
"tiers: small to medium size enterprises and nonprofits at £720 a year, and "
"corporations and government organizations at £2,200 a year.  Commercial "
"members have greater opportunities to connect and collaborate, explore the "
"benefits of open data, and unlock new business opportunities. (All members "
"are listed on their website.)<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Du kan delta i ODI som personlig eller kommersielt medlem.  Individuelle "
"medlemskap er betal-hva-du-kan, med alternativer fra £ 1 til £ 100. "
"Medlemmer mottar nyhetsbrev og relatert kommunikasjon, og rabatt på ODIs "
"kurs og årssamling, og de kan vise et ODI-tilhengermerke på sin hjemmeside. "
"Kommersielle medlemskap er delt inn i to klasser: Små og mellomstore "
"bedrifter og ideelle organisasjoner som betaler £ 720 pr. år, og selskaper "
"og offentlige organisasjoner som betaler £ 2200 året.  Kommersielle "
"medlemmer har større muligheter til å koble seg til og samarbeide, utnytte "
"fordelene med åpne data, og åpne opp for nye forretningsmuligheter. (Alle "
"medlemmer er listet på nettsiden deres.)<placeholder type=\"footnote\" id="
"\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6361
msgid ""
"ODI provides standardized open data training courses in which anyone can "
"enroll. The initial idea was to offer an intensive and academically oriented "
"diploma in open data, but it quickly became clear there was no market for "
"that. Instead, they offered a five-day-long public training course, which "
"has subsequently been reduced to three days; now the most popular course is "
"one day long. The fee, in addition to the time commitment, can be a barrier "
"for participation. Jeni says, <quote>Most of the people who would be able to "
"pay don’t know they need it. Most who know they need it can’t pay.</quote> "
"Public-sector organizations sometimes give vouchers to their employees so "
"they can attend as a form of professional development."
msgstr ""
"ODI gir standardiserte opplæringskurs i åpne data der alle kan melde seg på. "
"Den opprinnelige ideen var å tilby et intensivt og akademisk kurs i åpne "
"data, men det ble raskt klart det ikke var noe marked for det. I stedet "
"tilbød de fem dagers lange opplæringskurs tilgjengelig for alle, som senere "
"er redusert til tre dager. Nå varer det mest populære kurset én dag. "
"Kursavgiften, i tillegg til tiden det tar, kan være en barrière for "
"deltakelse. Jeni sier: <quote>De fleste av dem som har råd vet ikke at de "
"trenger det. De fleste som vet at de trenger det, har ikke råd</quote>. "
"Offentlige organisasjoner gir noen ganger rabattkuponger til sine ansatte, "
"slik at de kan delta som en form for faglig utvikling."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6375
msgid ""
"ODI customizes training for clients as well, for which there is more demand. "
"Custom training usually emerges through an established relationship with an "
"organization. The training program is based on a definition of open-data "
"knowledge as applicable to the organization and on the skills needed by "
"their high-level executives, management, and technical staff. The training "
"tends to generate high interest and commitment."
msgstr ""
"ODI tilpasser trening for klienter også, som det er mer etterspørsel etter. "
"Tilpasset opplæring oppstår vanligvis gjennom et etablert forhold til en "
"organisasjon. Treningsprogrammet er basert på en definisjon av åpen-"
"datakunnskap som gjelder for organisasjonen, og ferdighetene som trengs av "
"de øverste ledere,  administrasjon og teknisk personale. Opplæringen har en "
"tendens til å generere stor interesse og engasjement."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6384
msgid ""
"Education about open data is also a part of ODI’s annual summit event, where "
"curated presentations and speakers showcase the work of ODI and its members "
"across the entire ecosystem. Tickets to the summit are available to the "
"public, and hundreds of people and organizations attend and participate. In "
"2014, there were four thematic tracks and over 750 attendees."
msgstr ""
"Opplæring om åpne data er også en del av ODIS årssamling, der foredrag og "
"presentasjoner viser frem resultater fra ODI og medlemmer fra hele "
"økosystemet. Billetter til arrangementet er offentlig tilgjengelig, og "
"hundrevis av besøkende og organisasjoner er til stede og deltar. I 2014 var "
"det fire tematiske spor og over 750 deltakere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6392
msgid ""
"In addition to memberships and training, ODI provides advisory services to "
"help with technical-data support, technology development, change management, "
"policies, and other areas. ODI has advised large commercial organizations, "
"small businesses, and international governments; the focus at the moment is "
"on government, but ODI is working to shift more toward commercial "
"organizations."
msgstr ""
"I tillegg til medlemskap og trening utfører ODI rådgiving og bistand med "
"teknisk datastøtte, teknologiutvikling, endringsledelse, politikk og på "
"andre områder. ODI har gitt råd til store kommersielle organisasjoner, små "
"bedrifter og internasjonale myndigheter. I øyeblikket er fokus på "
"regjeringen, men ODI arbeider med å skifte mer til kommersielle "
"organisasjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6401
msgid ""
"On the commercial side, the following value propositions seem to resonate:"
msgstr ""
"I kommersiell forstand syntes følgende verdistandpunkter å gi gjenklang:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6407
msgid ""
"Data-driven insights. Businesses need data from outside their business to "
"get more insight. Businesses can generate value and more effectively pursue "
"their own goals if they open up their own data too. Big data is a hot topic."
msgstr ""
"Data-drevet innsikt. Bedrifter trenger data utenfra for å få mer innsikt. "
"Bedrifter kan generere verdi, og mer effektivt følge sine egne mål når de "
"også åpner opp sine egne data. Store data er et hett tema."

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6415
msgid ""
"Open innovation. Many large-scale enterprises are aware they don’t innovate "
"very well. One way they can innovate is to open up their data. ODI "
"encourages them to do so even if it exposes problems and challenges. The key "
"is to invite other people to help while still maintaining organizational "
"autonomy."
msgstr ""
"Åpen nyskapning. Mange store bedrifter er klar over at de ikke innoverer "
"godt. En måte de kan skape noe nytt på er å åpne opp sine data. ODI "
"oppmuntrer dem til å gjøre det, selv om det viser problemer og utfordringer. "
"Nøkkelen er å invitere andre til å hjelpe, og samtidig opprettholde "
"organisatorisk uavhengighet."

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6424
msgid ""
"Corporate social responsibility. While this resonates with businesses, ODI "
"cautions against having it be the sole reason for making data open. If a "
"business is just thinking about open data as a way to be transparent and "
"accountable, they can miss out on efficiencies and opportunities."
msgstr ""
"Samfunnsansvar. Mens dette klinger for bedrifter, advarer ODI mot å ha det "
"som den eneste grunnen for å gjøre data åpne. Hvis en virksomhet bare tenker "
"åpne som en måte å være gjennomsiktig og ansvarlig på, kan de gå glipp av "
"effektivitet og muligheter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6433
msgid ""
"During their early years, ODI wanted to focus solely on the United Kingdom. "
"But in their first year, large delegations of government visitors from over "
"fifty countries wanted to learn more about the UK government’s open-data "
"practices and how ODI saw that translating into economic value. They were "
"contracted as a service provider to international governments, which "
"prompted a need to set up international ODI <quote>nodes.</quote>"
msgstr ""
"I sine første år ønsket ODI å fokusere utelukkende på Storbritannia. Men i "
"sitt første år ønsket store delegasjoner med besøkende myndigheter, fra over "
"50 land, å lære mer om den britiske regjeringens åpen-datapraksis, og "
"hvordan ODI mente denne kunne omdannes til økonomiske verdier. De ble leid "
"inn som en tjenesteleverandør for internasjonale orgnisasjoner, som førte "
"til behovet om å sette opp internasjonale ODI-<quote>avleggere</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6442
msgid ""
"Nodes are franchises of the ODI at a regional or city level.  Hosted by "
"existing (for-profit or not-for-profit) organizations, they operate locally "
"but are part of the global network. Each ODI node adopts the charter, a set "
"of guiding principles and rules under which ODI operates. They develop and "
"deliver training, connect people and businesses through membership and "
"events, and communicate open-data stories from their part of the world. "
"There are twenty-seven different nodes across nineteen countries. ODI nodes "
"are charged a small fee to be part of the network and to use the brand."
msgstr ""
"Noder er linsensiering av ODI regionalt eller på bynivå.  Arrangert av "
"eksisterende (for-fortjeneste eller ideelle) organisasjoner, opererer de "
"lokalt, men er en del av det globale nettverket. Hver ODI-node vedtar et "
"charter, et sett med styrende prinsipper og regler som ODI driver. De "
"utvikler og leverer opplæring, kobler mennesker og virksomheter gjennom "
"medlemskap og arrangementer, og kommuniserer åpen-datahistorier fra sin del "
"av verden. Det er tjuesju ulike noder i nitten land. ODI-noder betaler en "
"liten avgift for å være en del av nettverket, og bruke varemerket."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6456
msgid ""
"<ulink url=\"http://theodi.org/odi-startup-programme\"/>; <ulink url="
"\"http://theodi.org/open-data-incubator-for-europe\"/>"
msgstr ""
"<ulink url=\"http://theodi.org/odi-startup-programme\"/>; <ulink url="
"\"http://theodi.org/open-data-incubator-for-europe\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6454
msgid ""
"ODI also runs programs to help start-ups in the UK and across Europe develop "
"a sustainable business around open data, offering mentoring, advice, "
"training, and even office space.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"ODI driver også programmer for å bistå grunderforetak i Storbritannia og "
"Europa for å utvikle bærekraftig virksomhet rundt åpne data, der de tilbyr "
"veiledning, gir råd,opplæring, og til og med skaffer kontorlokaler. "
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6460
msgid ""
"A big part of ODI’s business model revolves around community building. "
"Memberships, training, summits, consulting services, nodes, and start-up "
"programs create an ever-growing network of open-data users and leaders. (In "
"fact, ODI even operates something called an Open Data Leaders Network.) For "
"ODI, community is key to success. They devote significant time and effort to "
"build it, not just online but through face-to-face events."
msgstr ""
"En stor del av ODIs forretningsmodell dreier seg om å bygge fellesskap. "
"Medlemskap, opplæring, konferanser, konsulenttjenester, noder og "
"oppstartsprogrammer oppretter et stadig voksende nettverk av åpne-"
"databrukere og -ledere. (Faktisk har ODI selv noe som kalles Open Data "
"Leaders Network.) For ODI er fellesskapet nøkkelen til suksess. De vier mye "
"tid og krefter til å bygge det ut, ikke bare på Internett, men gjennom det "
"som skjer ansikt til ansikt."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6474
msgid "<ulink url=\"http://certificates.theodi.org\"/>"
msgstr "<ulink url=\"http://certificates.theodi.org\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6469
msgid ""
"ODI has created an online tool that organizations can use to assess the "
"legal, practical, technical, and social aspects of their open data. If it is "
"of high quality, the organization can earn ODI’s Open Data Certificate, a "
"globally recognized mark that signals that their open data is useful, "
"reliable, accessible, discoverable, and supported.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"ODI har laget et nettbasert verktøy som organisasjoner kan bruke til å "
"vurdere de juridiske, praktiske, tekniske og sosiale aspektene av deres åpne "
"data. Hvis det er av høy kvalitet, kan organisasjonen oppnå ODIs Open Data "
"Certificate, et globalt anerkjent merke som signaliserer at deres åpne data "
"er nyttige, pålitelige, tilgjengelige, synlige og støttet.<placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6477
msgid ""
"Separate from commercial activities, the ODI generates funding through "
"research grants. Research includes looking at evidence on the impact of open "
"data, development of open-data tools and standards, and how to deploy open "
"data at scale."
msgstr ""
"Atskilt fra kommersielle aktiviteter, genererer ODI finansiering med "
"forskningsmidler. Forskning omfatter å dokumentere  virkningen av åpne data, "
"å utvikle åpne-dataverktøy og standarder, og hvordan du skalerer opp "
"utplasseringen av åpne data."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6483
msgid ""
"Creative Commons 4.0 licenses cover database rights and ODI recommends CC "
"BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data "
"to use Creative Commons licenses rather than creating new <quote>open "
"licenses</quote> of their own."
msgstr ""
"Creative Commons 4.0-lisenser dekker databaserettigheter, og ODI anbefaler "
"CC BY, CC BY-SA, og CC0 for datautgivelser. ODI oppfordrer utgivere av data "
"å bruke Creative Commons-lisenser i stedet for å lage nye egne <quote>åpne "
"lisenser</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6490
#, fuzzy
#| msgid ""
#| "For ODI, open is at the heart of what they do. They also release any "
#| "software code they produce under open-source-software licenses, and "
#| "publications and reports under CC BY or CC BY-SA licenses. ODI’s mission "
#| "is to connect and equip people around the world so they can innovate with "
#| "data. Disseminating stories, research, guidance, and code under an open "
#| "license is essential for achieving that mission. It also demonstrates "
#| "that it is perfectly possible to generate sustainable revenue streams "
#| "that do not rely on restrictive licensing of content, data, or code.  "
#| "People pay to have ODI experts provide training to them, not for the "
#| "content of the training; people pay for the advice ODI gives them, not "
#| "for the methodologies they use. Producing open content, data, and source "
#| "code helps establish credibility and creates leads for the paid services "
#| "that they offer. According to Jeni, “The biggest lesson we have learned "
#| "is that it is completely possible to be open, get customers, and make "
#| "money.”"
msgid ""
"For ODI, open is at the heart of what they do. They also release any "
"software code they produce under open-source-software licenses, and "
"publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is "
"to connect and equip people around the world so they can innovate with data. "
"Disseminating stories, research, guidance, and code under an open license is "
"essential for achieving that mission. It also demonstrates that it is "
"perfectly possible to generate sustainable revenue streams that do not rely "
"on restrictive licensing of content, data, or code.  People pay to have ODI "
"experts provide training to them, not for the content of the training; "
"people pay for the advice ODI gives them, not for the methodologies they "
"use. Producing open content, data, and source code helps establish "
"credibility and creates leads for the paid services that they offer. "
"According to Jeni, <quote>The biggest lesson we have learned is that it is "
"completely possible to be open, get customers, and make money.</quote>"
msgstr ""
"For ODI er åpen kjernen i det de gjør. De legger også ut programkoden til "
"enhvert program de produserer med fri programvarelisenser, og publikasjoner "
"og rapporter er under CC BY eller CC BY-SA-lisenser. ODIs oppgave er å koble "
"sammen og utstyre folk verden over slik at de kan skape noe nytt med data. Å "
"spre historier, forskning, veiledning og kode med åpne lisenser er "
"avgjørende for å klare den oppgaven. Det viser også at det er fullt mulig å "
"generere bærekraftige inntektsstrømmer som avhengig av restriktiv "
"lisensiering av innhold, data eller kode. Folk betaler for å få opplæring av "
"ODI-eksperter, ikke for innholdet av opplæringen; folk betaler for råd ODI "
"gir dem, ikke for metodikken de bruker. Å produsere åpent innhold, data og "
"kildekode hjelper til med å etablere troverdighet, og fører videre til de "
"betalte tjenestene de tilbyr. Ifølge Jeni er <quote>den største lærdommen vi "
"har fått, er at det er fullt ut  mulig å være åpen, få kunder og tjene "
"penger</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6508
msgid ""
"To serve as evidence of a successful open business model and return on "
"investment, ODI has a public dashboard of key performance indicators. Here "
"are a few metrics as of April 27, 2016:"
msgstr ""
"For å tjene som bevis for en vellykket åpen forretningsmodell og avkastning "
"på investeringer, har ODI et offentlig skjermbilde med nøkkelindikatorer for "
"leveranse. Her er noen beregninger fra 27. April 2016:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6516
msgid ""
"Total amount of cash investments unlocked in direct investments in ODI, "
"competition funding, direct contracts, and partnerships, and income that ODI "
"nodes and ODI start-ups have generated since joining the ODI program: £44.5 "
"million"
msgstr ""
"Totalsummen kontantinvesteringer åpnet opp som direkte investeringer i ODI, "
"konkurransefinansiering, direkte kontrakter, partnerskap og inntekt som ODI-"
"noder og ODI-oppstart har generert siden de ble med i ODI-programmet: £ 44,5 "
"millioner (pund)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6524
msgid "Total number of active members and nodes across the globe: 1,350"
msgstr "Antall aktive medlemmer og noder over hele verden: 1350"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6530
msgid "Total sales since ODI began: £7.44 million"
msgstr "Totalt salg siden ODI startet: £ 7.44 millioner (pund)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6535
msgid ""
"Total number of unique people reached since ODI began, in person and online: "
"2.2 million"
msgstr ""
"Totalt antall unike personer nådd siden ODI startet, personlig og på nettet: "
"2,2 millioner"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6541
msgid "Total Open Data Certificates created: 151,000"
msgstr "Totalt antall åpne datasertifikater opprettet: 151 000"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6547
msgid "<ulink url=\"http://dashboards.theodi.org/company/all\"/>"
msgstr "<ulink url=\"http://dashboards.theodi.org/company/all\"/>"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6546
msgid ""
"Total number of people trained by ODI and its nodes since ODI began: "
"5,080<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Totalt antall personer trent av ODI og nodene siden ODI startet: 5 "
"080<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6553
msgid "OpenDesk"
msgstr "OpenDesk"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6556
msgid ""
"Opendesk is a for-profit company offering an online platform that connects "
"furniture designers around the world with customers and local makers who "
"bring the designs to life.  Founded in 2014 in the UK."
msgstr ""
"Opendesk er et inntektsbasert selskap som tilbyr en nettplattform som kobler "
"sammen møbeldesignere verden over med kunder og lokale beslutningstakere som "
"virkeliggjør designene.  Grunnlagt i 2014 i Storbritannia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6562
msgid "<ulink url=\"http://www.opendesk.cc\"/>"
msgstr "<ulink url=\"http://www.opendesk.cc\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6564
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8995
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging a transaction "
"fee"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling med et "
"transaksjonsgebyr"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6567
msgid "<emphasis role=\"strong\">Interview date</emphasis>: November 4, 2015"
msgstr "<emphasis role=\"strong\"> Intervjudato</emphasis>: 4. november 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6570
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Nick Ierodiaconou and "
"Joni Steiner, cofounders"
msgstr ""
"<emphasis role=\"strong\"> Intervjuet</emphasis>: Nick Ierodiaconou og Joni "
"Steiner, medgrunnleggere"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6578
msgid ""
"Opendesk is an online platform that connects furniture designers around the "
"world not just with customers but also with local registered makers who "
"bring the designs to life. Opendesk and the designer receive a portion of "
"every sale that is made by a maker."
msgstr ""
"Opendesk er en nettplattform som kobler møbeldesignere verden over ikke bare "
"med kunder, men også med lokale registrerte produsenter som bringer "
"designene til liv. Opendesk og designeren får en del av hvert salg fra "
"produsentene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6584
msgid ""
"Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as "
"architects together. They also made goods. Their first client was Mint "
"Digital, who had an interest in open licensing. Nick and Joni were exploring "
"digital fabrication, and Mint’s interest in open licensing got them to "
"thinking how the open-source world may interact and apply to physical goods. "
"They sought to design something for their client that was also reproducible. "
"As they put it, they decided to <quote>ship the recipe, but not the goods.</"
"quote> They created the design using software, put it under an open license, "
"and had it manufactured locally near the client. This was the start of the "
"idea for Opendesk. The idea for Wikihouse—another open project dedicated to "
"accessible housing for all—started as discussions around the same table. The "
"two projects ultimately went on separate paths, with Wikihouse becoming a "
"nonprofit foundation and Opendesk a for-profit company."
msgstr ""
"Medgrunnlegger Nick Ierodiaconou og Joni Steiner studerte og arbeidet sammen "
"som arkitekter. De laget også produkter. Den første klienten deres var Mint "
"Digital, som var interessert i åpne lisenser. Nick og Joni utforsket digital "
"fabrikasjon, og Mints interesse for åpen lisensiering fikk dem til å tenke "
"på hvordan friprogramvareverden kan samhandle og anvendes for fysiske varer. "
"De forsøkte å utforme noe for sin klient som også var reproduserbart. Som de "
"sa, besluttet de å <quote>tilby oppskriften, men ikke varene</quote>. De "
"brukte fri programvare til utformingen, ga den en fri lisens, og fikk den "
"produsert lokalt, nær klienten. Dette var starten på idéen om Opendesk. "
"Idéen til Wikihouse – et annet åpent prosjekt rettet mot tilgjengelig bolig "
"for alle – startet som diskusjoner rundt det samme bordet bordet. De to "
"prosjektene gikk til slutt separate veier, Wikihouse ble ideell stiftelse, "
"og Opendesk, et kommersielt selskap."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6601
msgid ""
"When Nick and Joni set out to create Opendesk, there were a lot of questions "
"about the viability of distributed manufacturing. No one was doing it in a "
"way that was even close to realistic or competitive. The design community "
"had the intent, but fulfilling this vision was still a long way away."
msgstr ""
"Da Nick og Joni startet arbeidet med å opprette Opendesk, var det mange "
"spørsmål om distribuert produksjon hadde livets rett. Ingen gjorde det på en "
"måte som engang var nær å være realistisk eller konkurransedyktig. "
"Designfellesskapet hadde intensjonen, men å oppfylle denne visjonen var "
"fortsatt langt unna."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6608
msgid ""
"And now this sector is emerging, and Nick and Joni are highly interested in "
"the commercialization aspects of it. As part of coming up with a business "
"model, they began investigating intellectual property and licensing options. "
"It was a thorny space, especially for designs. Just what aspect of a design "
"is copyrightable? What is patentable? How can allowing for digital sharing "
"and distribution be balanced against the designer’s desire to still hold "
"ownership? In the end, they decided there was no need to reinvent the wheel "
"and settled on using Creative Commons."
msgstr ""
"Og nå vokser denne sektoren, og Nick og Joni er svært interessert i "
"kommersialiseringsaspektene ved den. Som en del av å finne en "
"forretningsmodell, begynte de å undersøke immaterielle rettigheter og "
"alternativer for lisensiering. Det var et tornefullt område, spesielt for "
"design. Akkurat hvilke deler av et design er det mulig å åndsverkbeskytte? "
"Hva er patenterbart? Hvordan kan tillatelse for digital deling og "
"distribusjon veies mot designerens ønske om å fortsatt beholde eierskap? Til "
"slutt bestemte de at det ikke var nødvendig å gjenoppfinne hjulet, og "
"avgjorde å bruke Creative Commons."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6619
msgid ""
"When designing the Opendesk system, they had two goals. They wanted anyone, "
"anywhere in the world, to be able to download designs so that they could be "
"made locally, and they wanted a viable model that benefited designers when "
"their designs were sold. Coming up with a business model was going to be "
"complex."
msgstr ""
"Da de utformet Opendesk-systemet, hadde de to mål. De ønsket at alle, hvor "
"som helst i verden, skulle kunne laste ned design slik at det kunne gjøres "
"lokalt, og de ønsket en levedyktig modell som var til fordel for designere "
"når deres design ble solgt. Det viste seg å være komplekst å kommer opp med "
"en forretningsmodell."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6626
msgid ""
"They gave a lot of thought to three angles—the potential for social sharing, "
"allowing designers to choose their license, and the impact these choices "
"would have on the business model."
msgstr ""
"De brukte mye tankvirksomhet i tre retninger; potensialet for sosial deling, "
"å tillate designere å velge sin lisens, og effekten disse valgene ville ha "
"på forretningsmodellen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6631
msgid ""
"In support of social sharing, Opendesk actively advocates for (but doesn’t "
"demand) open licensing. And Nick and Joni are agnostic about which Creative "
"Commons license is used; it’s up to the designer. They can be proprietary or "
"choose from the full suite of Creative Commons licenses, deciding for "
"themselves how open or closed they want to be."
msgstr ""
"I støtten for sosiale deling, argumenterte Opendesk aktivt for (men krever "
"ikke) åpen lisensiering. Og Nick og Joni er bryr seg ikke om hvilken "
"Creative Commons-lisens som brukes. Det er opp til designeren. De kan være "
"proprietære eller valgt fra hele pakken med Creative Commons-lisenser, og "
"selv bestemme seg for hvor åpen eller lukket de ønsker å være."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6643
msgid "<ulink url=\"http://www.opendesk.cc/designers\"/>"
msgstr "<ulink url=\"http://www.opendesk.cc/designers\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6639
msgid ""
"For the most part, designers love the idea of sharing content.  They "
"understand that you get positive feedback when you’re attributed, what Nick "
"and Joni called <quote>reputational glow.</quote> And Opendesk does an "
"awesome job profiling the designers.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"For det meste elsker designere tanken på å dele innhold.  De forstår at du "
"får positive tilbakemeldinger når du blir referert til, det Nick og Joni "
"kalte <quote>omdømme-glød</quote>. Og Opendesk gjør en fantastisk jobb med å "
"profilere designere.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6646
msgid ""
"While designers are largely OK with personal sharing, there is a concern "
"that someone will take the design and manufacture the furniture in bulk, "
"with the designer not getting any benefits. So most Opendesk designers "
"choose the Attribution-NonCommercial license (CC BY-NC)."
msgstr ""
"Mens designere i hovedsak synes personlig deling er greit, er det et problem "
"at noen tar design og produksjon av møbler i bulk, mens designeren ikke "
"sitter igjen med noen fordeler. Så de fleste Opendesk-designere velger "
"Attribution-NonCommercial-lisensen (CC BY-NC)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6653
msgid ""
"Anyone can download a design and make it themselves, provided it’s for "
"noncommercial use — and there have been many, many downloads.  Or users can "
"buy the product from Opendesk, or from a registered maker in Opendesk’s "
"network, for on-demand personal fabrication.  The network of Opendesk makers "
"currently is made up of those who do digital fabrication using a computer-"
"controlled CNC (Computer Numeric Control) machining device that cuts shapes "
"out of wooden sheets according to the specifications in the design file."
msgstr ""
"Alle kan laste ned et design og lage produktet selv, forutsatt at det ikke "
"er for kommersielt bruk, og det har vært mange nedlastinger. Eller brukere "
"kan kjøpe produktet fra Opendesk, eller fra en registrert produsent i "
"Opendesks nettverk, på forespørsel.  Nettverket av Opendesks produsenter "
"består i dag både av dem som benytter digital fabrikasjon med en datastyrt "
"CNC-maskin (Computer Numeric Control) som lager former av treplater etter "
"spesifikasjonene i designfilen."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6670
msgid "<ulink url=\"http://www.opendesk.cc/open-making/makers/\"/>"
msgstr "<ulink url=\"http://www.opendesk.cc/open-making/makers/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6663
msgid ""
"Makers benefit from being part of Opendesk’s network. Making furniture for "
"local customers is paid work, and Opendesk generates business for them. Joni "
"said, <quote>Finding a whole network and community of makers was pretty easy "
"because we built a site where people could write in about their "
"capabilities. Building the community by learning from the maker community is "
"how we have moved forward.</quote> Opendesk now has relationships with "
"hundreds of makers in countries all around the world.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Skapere drar nytte av å være en del av nettverket til Opendesk. Å lage "
"møbler for lokale kunder er betalt arbeid, og Opendesk genererer oppdrag for "
"dem. Joni sa: <quote>Å finne et helt nettverk og et fellesskap av skapere "
"var ganske enkelt fordi vi bygget en hjemmeside hvor folk kunne skrive inn "
"hva de var i stand til å gjøre. Vi har virkelig hatt fremdrift ved å bygge "
"fellesskapet ved å lære av skaperfellesskapet</quote>. Opendesk har nå "
"samarbeid med hundrevis av skapere i land over hele verden.<placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6673
msgid ""
"The makers are a critical part of the Opendesk business model.  Their model "
"builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s "
"website:"
msgstr ""
"Produsentene er en viktig del av Opendesks forretningsmodell.  Modellen "
"deres bygger på sitater fra produsentene. Her er hvordan det vises på "
"Opendesks nettsted:"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6678
msgid ""
"When customers buy an Opendesk product directly from a registered maker, "
"they pay:"
msgstr ""
"Når kundene kjøper et Opendesk-produkt direkte fra en registrert produsent, "
"betaler de:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6684
msgid ""
"the manufacturing cost as set by the maker (this covers material and labour "
"costs for the product to be manufactured and any extra assembly costs "
"charged by the maker)"
msgstr ""
"Produksjonskostnadene som angitt av produsenten (som dekker materiale og "
"lønnskostnader slik at produktet kan bli produsert, og mulige ekstra "
"monteringskostnader)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6691
msgid ""
"a design fee for the designer (a design fee that is paid to the designer "
"every time their design is used)"
msgstr ""
"en designavgift til designeren (en designavgift som betales til designeren "
"hver gang designet deres brukes)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6697
msgid ""
"a percentage fee to the Opendesk platform (this supports the infrastructure "
"and ongoing development of the platform that helps us build out our "
"marketplace)"
msgstr ""
"en prosentsats avgift til Opendesk-plattformen (den støtter infrastrukturen "
"og den kontinuerlige utviklingen av plattformen som trengs for å bygge ut "
"markedsplassen vår)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6704
msgid ""
"a percentage fee to the channel through which the sale is made (at the "
"moment this is Opendesk, but in the future we aim to open this up to third-"
"party sellers who can sell Opendesk products through their own channels—this "
"covers sales and marketing fees for the relevant channel)"
msgstr ""
"en prosentsats til kanalen der salget er gjort (for øyeblikket er dette "
"Opendesk, men i fremtiden ønsker vi å åpne denne opp for tredjeparts selgere "
"som kan selge Opendesk-produkter gjennom egne kanaler. Dette dekker salgs- "
"og markedsføringsavgifter for den kanalen det gjelder)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6713
msgid ""
"a local delivery service charge (the delivery is typically charged by the "
"maker, but in some cases may be paid to a third-party delivery partner)"
msgstr ""
"en lokal leveransekostand (levering er vanligvis belastet fra produsenten, "
"men i noen tilfeller kan den bli betalt til en tredjepart som står for "
"leveringen)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6720
msgid ""
"charges for any additional services the customer chooses, such as on-site "
"assembly (additional services are discretionary—in many cases makers will be "
"happy to quote for assembly on-site and designers may offer bespoke design "
"options)"
msgstr ""
"kostnader for eventuelle tilleggstjenester kunden velger, som montering på "
"stedet (tilleggstjenester er skjønnsmessige – i mange tilfeller vil "
"produsentene gjerne ha med montering på stedet og designere kan tilby "
"skreddersydde designvalg)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6729
msgid "<ulink url=\"http://www.opendesk.cc/open-making/join\"/>"
msgstr "<ulink url=\"http://www.opendesk.cc/open-making/join\"/>"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6728
msgid ""
"local sales taxes (variable by customer and maker location)<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"lokale merverdiavgifter (avhengig av hvor kunden og produsenten "
"er)<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6734
msgid "They then go into detail how makers’ quotes are created:"
msgstr "De går så i detalj om hvordan produsentens tilbud settes sammen:"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6737
msgid ""
"When a customer wants to buy an Opendesk . . . they are provided with a "
"transparent breakdown of fees including the manufacturing cost, design fee, "
"Opendesk platform fee and channel fees. If a customer opts to buy by getting "
"in touch directly with a registered local maker using a downloaded Opendesk "
"file, the maker is responsible for ensuring the design fee, Opendesk "
"platform fee and channel fees are included in any quote at the time of "
"sale.  Percentage fees are always based on the underlying manufacturing cost "
"and are typically apportioned as follows:"
msgstr ""
"Når en kunde ønsker å kjøpe en Opendesk, får de et åpent oppsett av avgifter "
"inkludert produksjonskostnadene, designgebyr, Opendesk-plattformavgift og "
"kanalavgifter. Hvis en kunde velger å kjøpe ved å komme i direkte kontakt "
"med en registrert lokal produsent som bruker en nedlastet Opendesk-fil, er "
"produsenten ansvarlig for at designgebyret, Opendesks plattformavgift og "
"kanalavgifter er inkludert i alle tilbud på salgstidspunktet.  "
"Prosentavgifter er alltid basert på de underliggende produksjonskostnadene, "
"og er vanligvis fordelt som følger:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6750
msgid ""
"manufacturing cost: fabrication, finishing and any other costs as set by the "
"maker (excluding any services like delivery or on-site assembly)"
msgstr ""
"produksjonskostnader: fabrikasjon, etterbehandling, og andre kostnader som "
"angitt av produsenten (unntatt eventuelle tjenester som levering eller "
"montering på stedet)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6757
msgid "design fee: 8 percent of the manufacturing cost"
msgstr "designavgift: 8 prosent av produksjonskostnadene"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6762
msgid "platform fee: 12 percent of the manufacturing cost"
msgstr "plattformavgift: 12 prosent av produksjonskostnadene"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6767
msgid "channel fee: 18 percent of the manufacturing cost"
msgstr "kanalavgift: 18 prosent av produksjonskostnadene"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6772
msgid "sales tax: as applicable (depends on product and location)"
msgstr ""
"merverdiavgift (mva.): gjeldende (avhenger av produkt og hvor salget skjer)"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6777
msgid ""
"Opendesk shares revenue with their community of designers.  According to "
"Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8 "
"percent is more generous, and providing a higher value to the designer."
msgstr ""
"Opendesk deler inntektene med fellesskapets designere. Ifølge Nick og Joni, "
"er en typisk designeravgift på rundt 2,5 prosent, så Opendesks 8 prosent er "
"mer generøs, og gir en høyere verdi til designeren."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6783
msgid ""
"The Opendesk website features stories of designers and makers.  Denis Fuzii "
"published the design for the Valovi Chair from his studio in São Paulo. His "
"designs have been downloaded over five thousand times in ninety-five "
"countries. I.J. CNC Services is Ian Jinks, a professional maker based in the "
"United Kingdom. Opendesk now makes up a large proportion of his business."
msgstr ""
"Opendesks nettsted har bakgrunnshistorier om designere og beslutningstakere. "
"Denis Fuzii publiserte design for Valovi Chair fra sitt studio i São Paulo. "
"Hans design er lastet ned over fem tusen ganger i nittifem land. I.J. CNC "
"Services er Ian Jinks, en profesjonell produsent med base i Storbritannia. "
"En stor andel av hans virksomhet kommer fra Opendesk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6791
msgid ""
"To manage resources and remain effective, Opendesk has so far focused on a "
"very narrow niche—primarily office furniture of a certain simple aesthetic, "
"which uses only one type of material and one manufacturing technique. This "
"allows them to be more strategic and more disruptive in the market, by "
"getting things to market quickly with competitive prices. It also reflects "
"their vision of creating reproducible and functional pieces."
msgstr ""
"For å administrere ressurser og forbli effektiv har Opendesk så langt "
"fokusert på en svært smal nisje – hovedsakelig kontormøbler med en estetikk "
"preget av enkelhet, og som bruker bare én type materiale og én "
"produksjonsteknikk. Dette tillater dem å være mer strategiske, og gi mer "
"forstyrrelse i markedet ved å få ting i salg raskt med konkurransedyktige "
"priser. Det gjenspeiler også deres visjon om å skape reproduserbare og "
"funksjonelle produkter ."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6800
msgid ""
"On their website, Opendesk describes what they do as <quote>open making</"
"quote>: <quote>Designers get a global distribution channel. Makers get "
"profitable jobs and new customers. You get designer products without the "
"designer price tag, a more social, eco-friendly alternative to mass-"
"production and an affordable way to buy custom-made products.</quote>"
msgstr ""
"På sin hjemmeside beskriver Opendesk hva de gjør som <quote>åpen produksjon</"
"quote>: <quote>Designere får en global distribusjonskanal. Produsenter får "
"lønnsomme jobber og nye kunder. Du får designprodukter uten "
"designerprislapp, et mer sosialt og miljøvennlig alternativ til "
"masseproduksjon, og en rimelig måte å kjøpe skreddersydde produkter på</"
"quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6808
msgid ""
"Nick and Joni say that customers like the fact that the furniture has a "
"known provenance. People really like that their furniture was designed by a "
"certain international designer but was made by a maker in their local "
"community; it’s a great story to tell. It certainly sets apart Opendesk "
"furniture from the usual mass-produced items from a store."
msgstr ""
"Nick og Joni sier at kunder liker det faktum at møblene har et kjent opphav. "
"Folk liker at møblene deres er designet av en viss internasjonal designer, "
"men er laget av en produsent i lokalsamfunnet. Det er en fin historie å "
"fortelle. Den skiller absolutt Opendesks møbler fra vanlige masseproduserte "
"varer fra en butikk."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6821
msgid "<ulink url=\"http://openmaking.is\"/>"
msgstr "<ulink url=\"http://openmaking.is\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6816
#, fuzzy
#| msgid ""
#| "Nick and Joni are taking a community-based approach to define and evolve "
#| "Opendesk and the “open making” business model. They’re engaging thought "
#| "leaders and practitioners to define this new movement. They have a "
#| "separate Open Making site, which includes a manifesto, a field guide, and "
#| "an invitation to get involved in the Open Making community.<placeholder "
#| "type=\"footnote\" id=\"0\"/> People can submit ideas and discuss the "
#| "principles and business practices they’d like to see used."
msgid ""
"Nick and Joni are taking a community-based approach to define and evolve "
"Opendesk and the <quote>open making</quote> business model.  They’re "
"engaging thought leaders and practitioners to define this new movement. They "
"have a separate Open Making site, which includes a manifesto, a field guide, "
"and an invitation to get involved in the Open Making community.<placeholder "
"type=\"footnote\" id=\"0\"/> People can submit ideas and discuss the "
"principles and business practices they’d like to see used."
msgstr ""
"Nick og Joni har en fellesskapsbasert tilnærming til å definere og utvikle "
"Opendesk, og forretningsmodellen for <quote>åpen produksjon</quote>. De er "
"de engasjerende strategene og utøverne som kjennetegner denne nye "
"bevegelsen. De har et eget Open Making-nettsted, som omfatter et manifest, "
"en feltveiledning og en invitasjon til å bli involvert i Open Making-"
"fellesskapet.<placeholder type=\"footnote\" id=\"0\"/> Folk kan sende inn "
"ideer og diskutere prinsipper og forretningspraksis de ønsker å se brukt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6825
msgid ""
"Nick and Joni talked a lot with us about intellectual property (IP) and "
"commercialization. Many of their designers fear the idea that someone could "
"take one of their design files and make and sell infinite number of pieces "
"of furniture with it. As a consequence, most Opendesk designers choose the "
"Attribution-NonCommercial license (CC BY-NC)."
msgstr ""
"Nick og Joni snakket mye med oss om åndsverk (Intellectual Property (IP)) og "
"kommersialisering. Mange av designerne deres frykter tanken på at noen "
"skulle ta en av deres design-filer, og lage og selge et uendelig antall "
"møbler med den. Som en konsekvens, velger de fleste Opendesk-designere "
"Attribution-NonCommercial lisensen (CC BY-NC)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6833
msgid ""
"Opendesk established a set of principles for what their community considers "
"commercial and noncommercial use. Their website states:"
msgstr ""
"Opendesk etablerte et sett av prinsipper for hva fellesskapet vurderer som "
"kommersiell og ikke-kommersiell bruk. Deres hjemmeside fastslår:"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6837
msgid "It is unambiguously commercial use when anyone:"
msgstr "Det er en utvetydig kommersiell bruk når noen:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6842
msgid "charges a fee or makes a profit when making an Opendesk"
msgstr "krever en avgift eller får en fortjeneste når man lager en Opendesk"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6847
msgid "sells (or bases a commercial service on) an Opendesk"
msgstr "selger (eller baserer en kommersiell tjeneste på) en Opendesk"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6852
msgid ""
"It follows from this that noncommercial use is when you make an Opendesk "
"yourself, with no intention to gain commercial advantage or monetary "
"compensation. For example, these qualify as noncommercial:"
msgstr ""
"Det følger av dette at ikke-kommersiell bruk er når du lager et Opendesk-"
"produkt selv, uten å få en kommersiell fordel eller en økonomisk "
"kompensasjon. For eksempel kvalifiserer disse som ikke-kommersielle:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6860
msgid ""
"you are an individual with your own CNC machine, or access to a shared CNC "
"machine, and will personally cut and make a few pieces of furniture yourself"
msgstr ""
"du er en med din egen CNC-maskin, eller har tilgang til en delt CNC-maskin, "
"og vil personlig kutte til og lage noen få møbler selv"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6867
msgid ""
"you are a student (or teacher) and you use the design files for educational "
"purposes or training (and do not intend to sell the resulting pieces)"
msgstr ""
"du er en student (eller lærer) og bruker design-filer til pedagogiske formål "
"eller opplæring (og har ikke tenkt å selge de som blir laget)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6874
msgid ""
"you work for a charity and get furniture cut by volunteers, or by employees "
"at a fab lab or maker space"
msgstr ""
"du jobber ideelt og får møbler skåret ut av frivillige, eller av ansatte i "
"digitale verktøyrom, eller i åpne brukerrom"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6880
msgid ""
"Whether or not people technically are doing things that implicate IP, Nick "
"and Joni have found that people tend to comply with the wishes of creators "
"out of a sense of fairness. They have found that behavioral economics can "
"replace some of the thorny legal issues. In their business model, Nick and "
"Joni are trying to suspend the focus on IP and build an open business model "
"that works for all stakeholders—designers, channels, manufacturers, and "
"customers. For them, the value Opendesk generates hangs off <quote>open,</"
"quote> not IP."
msgstr ""
"Hvorvidt folk teknisk sett gjør ting som impliserer immaterielle "
"rettigheter, har Nick og Joni funnet at folk har en tendens til å etterkomme "
"ønskene til skaperne basert på rettferdighetsfølelse. De har funnet ut at "
"atferdsøkonomi kan erstatte noen av de vanskelige juridiske spørsmålene. I "
"sin forretningsmodell prøver Nick og Joni å redusere fokuset på immaterielle "
"rettigheter, og bygge en åpen forretningsmodell som fungerer for alle "
"interessenter – designere, kanaler, produsenter og forbrukere. For dem "
"ligger verdien Opendesk skaper i <quote>åpenhet</quote>, ikke i immaterielle "
"rettigheter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6891
msgid ""
"The mission of Opendesk is about relocalizing manufacturing, which changes "
"the way we think about how goods are made.  Commercialization is integral to "
"their mission, and they’ve begun to focus on success metrics that track how "
"many makers and designers are engaged through Opendesk in revenue-making "
"work."
msgstr ""
"Oppgaven til Opendesk er å relokalisere produksjonen, noe som endrer måten "
"vi tenker på om hvordan varer blir laget.  Kommersialisering er integrert i "
"formålet deres, og de har startet beregningen av hvor vellykket det er, ved "
"å spore hvor mange produsenter og designere som får inntektsgivende arbeid "
"gjennom Opendesk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6898
msgid ""
"As a global platform for local making, Opendesk’s business model has been "
"built on honesty, transparency, and inclusivity. As Nick and Joni describe "
"it, they put ideas out there that get traction and then have faith in people."
msgstr ""
"Som en global plattform for å produsere lokalt, har Opendesks "
"forretningsmodell vært bygd på ærlighet, åpenhet og inkludering. Som Nick og "
"Joni beskriver det, legger de ut ideer som får trekkraft - og deretter "
"stoler de på folk."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6905
msgid "OpenStax"
msgstr "OpenStax"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6908
msgid ""
"OpenStax is a nonprofit that provides free, openly licensed textbooks for "
"high-enrollment introductory college courses and Advanced Placement courses. "
"Founded in 2012 in the U.S."
msgstr ""
"OpenStax er en ideell organisasjon som gir gratis, åpent lisensierte "
"lærebøker for innledende collegekurs med mange innregistrerte, og  Advanced "
"Placement-kurs. Grunnlagt i 2012 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6913
msgid "<ulink url=\"http://www.openstaxcollege.org\"/>"
msgstr "<ulink url=\"http://www.openstaxcollege.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6915
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grant funding, charging "
"for custom services, charging for physical copies (textbook sales)"
msgstr ""
"<emphasis role=\"strong\">Inntjeningsmodell</emphasis>: "
"Donasjonfinansiering, betaling for tilpassede tjenester, betaling for "
"fysiske kopier (læreboksalg)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6919
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 16, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 16. desember 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6922
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: David Harris, editor-in-"
"chief"
msgstr ""
"<emphasis role=\"strong\"> Intervjuet</emphasis>: David Harris, sjefsredaktør"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6930
msgid ""
"OpenStax is an extension of a program called Connexions, which was started "
"in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of "
"Electrical and Computer Engineering at Rice University in Houston, Texas. "
"Frustrated by the limitations of traditional textbooks and courses, "
"Dr. Baraniuk wanted to provide authors and learners a way to share and "
"freely adapt educational materials such as courses, books, and reports. "
"Today, Connexions (now called OpenStax CNX) is one of the world’s best "
"libraries of customizable educational materials, all licensed with Creative "
"Commons and available to anyone, anywhere, anytime—for free."
msgstr ""
"OpenStax er en fortsettelse på et program kalt Connexions, som ble startet i "
"1999 av dr. Richard Baraniuk, Victor E. Cameron-professor i elektonikk og "
"datavitenskap ved Rice University i Houston, Texas. Frustrert av "
"begrensningene til tradisjonelle lærebøker og kurs, ønsket dr. Baraniuk å gi "
"forfattere og elever en måte å dele og fritt tilpasse pedagogisk materiell, "
"det vil si kurs, bøker og rapporter. I dag er Connexions (nå kalt OpenStax "
"CNX) et av verdens beste biblioteker med læremidler som kan tilpasses, alle "
"lisensiert med Creative Commons og tilgjengelig for alle, hvor som helst, "
"når som helst – gratis."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6942
msgid ""
"In 2008, while in a senior leadership role at WebAssign and looking at ways "
"to reduce the risk that came with relying on publishers, David Harris began "
"investigating open educational resources (OER) and discovered Connexions. A "
"year and a half later, Connexions received a grant to help grow the use of "
"OER so that it could meet the needs of students who couldn’t afford "
"textbooks. David came on board to spearhead this effort.  Connexions became "
"OpenStax CNX; the program to create open textbooks became OpenStax College, "
"now simply called OpenStax."
msgstr ""
"I 2008, i en topplederrolle på WebAssign mens han så på måter å redusere "
"risikoen som fulgte med å stole på utgivere, begynte David Harris å "
"undersøke åpne pedagogiske ressurser (OER), og oppdaget Connexions. Et og et "
"halvt år senere mottok Connexions en donasjon for å øke bruken av OER slik "
"at den kunne oppfylle behovene til elever som ikke hadde råd til lærebøker. "
"David gikk om bord for på være spydspiss i dette arbeidet. Connexions ble "
"OpenStax CNX; oppgaven å lage åpne lærebøker ble OpenStax College, nå ganske "
"enkelt kalt OpenStax."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6953
msgid ""
"David brought with him a deep understanding of the best practices of "
"publishing along with where publishers have inefficiencies. In David’s view, "
"peer review and high standards for quality are critically important if you "
"want to scale easily. Books have to have logical scope and sequence, they "
"have to exist as a whole and not in pieces, and they have to be easy to "
"find. The working hypothesis for the launch of OpenStax was to "
"professionally produce a turnkey textbook by investing effort up front, with "
"the expectation that this would lead to rapid growth through easy downstream "
"adoptions by faculty and students."
msgstr ""
"David hadde med seg en dyp forståelse av den beste praksisen for å "
"publisere, sammen med hvor utgivere var ineffektive. Etter Davids syn er "
"fagfellevurdering og høye standarder for kvalitet, kritisk viktig om du "
"enkelt vil skalere. Bøkene må ha en logisk innretning og rekkefølge, de må "
"eksistere som en helhet og ikke som stykker, og de må være lett å finne. "
"Arbeidsgruppehypotesen for lanseringen av OpenStax var å produsere en "
"nøkkelferdig lærebok profesjonelt, ved å investere i innsats først, med en "
"forventning om at dette ville føre til rask vekst gjennom enkel nedstrøms "
"tilpasninger av fakulteter og studenter."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6971
msgid ""
"<ulink url=\"http://news.rice.edu/files/2016/01/0119-"
"OPENSTAX-2016Infographic-lg-1tahxiu.jpg\"/>"
msgstr ""
"<ulink url=\"http://news.rice.edu/files/2016/01/0119-"
"OPENSTAX-2016Infographic-lg-1tahxiu.jpg\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6965
msgid ""
"In 2012, OpenStax College launched as a nonprofit with the aim of producing "
"high-quality, peer-reviewed full-color textbooks that would be available for "
"free for the twenty-five most heavily attended college courses in the "
"nation. Today they are fast approaching that number. There is data that "
"proves the success of their original hypothesis on how many students they "
"could help and how much money they could help save.<placeholder type="
"\"footnote\" id=\"0\"/> Professionally produced content scales rapidly. All "
"with no sales force!"
msgstr ""
"I 2012 ble OpenStax College lansert som et ideelt foretak med mål å "
"produsere høy kvalitets, fagfellevurderte fullfarge lærebøker som skulle "
"være tilgjengelig gratis for de ti mest benyttede collegekursene i landet. I "
"dag nærmer det seg raskt dette antallet. Det finnes data som beviser "
"suksessen til deres opprinnelige anslag for hvor mange studenter de kunne "
"hjelpe, og hvor mye penger de kunne hjelpe til med å få spart.<placeholder "
"type=\"footnote\" id=\"0\"/> Profesjonelt produsert innhold skalerer raskt. "
"Alt uten at noen sto for salget!"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6975
msgid ""
"OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook "
"is available as a PDF, an e-book, or web pages. Those who want a physical "
"copy can buy one for an affordable price. Given the cost of education and "
"student debt in North America, free or very low-cost textbooks are very "
"appealing. OpenStax encourages students to talk to their professor and "
"librarians about these textbooks and to advocate for their use."
msgstr ""
"OpenStax lærebøker er alle Attribution (CC BY)-lisensiert, og hver lærebok "
"er tilgjengelig som PDF, e-bok, eller som websider. De som ønsker en fysisk "
"kopi, kan kjøpe en til en overkommmelig pris. Gitt kostnaden for utdanning "
"og studentbelåningen i Nord-Amerika, er lærebøker som er gratis eller meget "
"rimelige svært attraktivt. OpenStax oppfordrer studenter til å snakke med "
"sine professorer og bibliotekarer om disse lærebøker, og argumentere for at "
"de blir brukt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6984
msgid ""
"Teachers are invited to try out a single chapter from one of the textbooks "
"with students. If that goes well, they’re encouraged to adopt the entire "
"book. They can simply paste a URL into their course syllabus, for free and "
"unlimited access. And with the CC BY license, teachers are free to delete "
"chapters, make changes, and customize any book to fit their needs."
msgstr ""
"Lærere inviteres til å prøve ut ett enkelt kapittel fra en av lærebøkene med "
"studentene. Hvis det går bra, blir de oppfordret til å ta i bruk hele boken. "
"De kan bare lime inn en URL-adresse i deres kurspensum, for fri og "
"ubegrenset tilgang. Med kopi av CC BY-lisensen, står lærerne fritt til å "
"sløyfe kapitler, lage endringer, og tilpasse hvilken som helst bok til deres "
"behov."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6992
msgid ""
"Any teacher can post corrections, suggest examples for difficult concepts, "
"or volunteer as an editor or author. As many teachers also want supplemental "
"material to accompany a textbook, OpenStax also provides slide "
"presentations, test banks, answer keys, and so on."
msgstr ""
"Enhver lærer kan legge inn korrigeringer, foreslå eksempler på vanskelige "
"begreper, eller bli frivillig som redaktør eller forfatter. Mange lærere vil "
"også ønske supplerende materiale som kan følge med en lærebok. OpenStax gir "
"også lysarkpresentasjoner, samlinger av tester, nøkler til svar, og så "
"videre ."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7003
msgid "<ulink url=\"http://openstax.org/adopters\"/>"
msgstr "<ulink url=\"http://openstax.org/adopters\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6999
msgid ""
"Institutions can stand out by offering students a lower-cost education "
"through the use of OpenStax textbooks; there’s even a textbook-savings "
"calculator they can use to see how much students would save. OpenStax keeps "
"a running list of institutions that have adopted their textbooks."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Institusjoner kan fremheves ved å tilby studentene en rimeligere utdanning "
"gjennom bruk av OpenStax lærebøker: Det er til og med en lærebok-"
"sparekalkulator som de kan bruke for å se hvor mye elevene ville spare. "
"OpenStax holder en løpende liste over institusjoner som har tatt i bruk sine "
"lærebøker.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7006
msgid ""
"Unlike traditional publishers’ monolithic approach of controlling "
"intellectual property, distribution, and so many other aspects, OpenStax has "
"adopted a model that embraces open licensing and relies on an extensive "
"network of partners."
msgstr ""
"I motsetning til tradisjonelle utgiveres monolittiske tilnærming med å "
"kontrollere immateriell eiendomsrett, distribusjon, og så mange andre "
"aspekter, har OpenStax tatt i bruk en modell med åpen lisensiering, og "
"stoler på et omfattende nettverk av samarbeidspartnere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7012
msgid ""
"Up-front funding of a professionally produced all-color turnkey textbook is "
"expensive. For this part of their model, OpenStax relies on philanthropy. "
"They have initially been funded by the William and Flora Hewlett Foundation, "
"the Laura and John Arnold Foundation, the Bill and Melinda Gates Foundation, "
"the 20 Million Minds Foundation, the Maxfield Foundation, the Calvin K. "
"Kazanjian Foundation, and Rice University. To develop additional titles and "
"supporting technology is probably still going to require philanthropic "
"investment."
msgstr ""
"Up-front finansiering (forhåndsfinansiering) av en profesjonelt produsert "
"nøkkelferdig fullfarge-lærebok er dyrt. For denne delen av modellen er "
"OpenStax avhengig av filantropi. De har i utgangspunktet vært finansiert av "
"stftelsene: Vilhelm og Flora Hewlett, av Laura og John Arnold, Bill og "
"Melinda Gates, The 20 Million Minds, Maxfield, Calvin K. Kazanjian og Rice-"
"universitetet. Utvikling av flere titler og dertil egnet teknologi vil "
"trolig fortsatt komme til å kreve filantropisk investering."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7023
msgid ""
"However, ongoing operations will not rely on foundation grants but instead "
"on funds received through an ecosystem of over forty partners, whereby a "
"partner takes core content from OpenStax and adds features that it can "
"create revenue from. For example, WebAssign, an online homework and "
"assessment tool, takes the physics book and adds algorithmically generated "
"physics problems, with problem-specific feedback, detailed solutions, and "
"tutorial support. WebAssign resources are available to students for a fee."
msgstr ""
"Men pågående arbeid vil ikke lene seg på donasjoner, men i stedet på "
"inntekter via et økosystem av over 40 partnere, der en partner kan tar "
"kjerneinnhold fra OpenStax, og legger til funksjoner som den kan skape "
"inntekter fra. For eksempel tar WebAssign, et online lekse- og "
"vurderingverktøy, den fysiske boken og legger til algoritmegenererte "
"fysikkproblemer med problemspesifikke tilbakemeldinger, detaljerte løsninger "
"og opplæringstøtte. Mot et gebyr er WebAssigns ressurser tilgjengelige for "
"studenter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7033
msgid ""
"Another example is Odigia, who has turned OpenStax books into interactive "
"learning experiences and created additional tools to measure and promote "
"student engagement. Odigia licenses its learning platform to institutions. "
"Partners like Odigia and WebAssign give a percentage of the revenue they "
"earn back to OpenStax, as mission-support fees. OpenStax has already "
"published revisions of their titles, such as Introduction to Sociology 2e, "
"using these funds."
msgstr ""
"Et annet eksempel er Odigia, som har endret OpenStax-bøker til interaktive "
"læringserfaringer, og laget flere verktøy for å måle og fremme "
"studentengasjement. Odigia lisensierer sin læringsplattform til "
"institusjoner. Partnere som Odigia og WebAssign gir en prosentandel av "
"inntektene de tjener tilbake til OpenStax, som avgifter til å støtte Odigas "
"formål. OpenStax har allerede publisert revisjoner av sine titler, slik som "
"Introduction to Sociology 2e, der disse midlene er brukt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7043
msgid ""
"In David’s view, this approach lets the market operate at peak efficiency. "
"OpenStax’s partners don’t have to worry about developing textbook content, "
"freeing them up from those development costs and letting them focus on what "
"they do best.  With OpenStax textbooks available at no cost, they can "
"provide their services at a lower cost—not free, but still saving students "
"money. OpenStax benefits not only by receiving mission-support fees but "
"through free publicity and marketing. OpenStax doesn’t have a sales force; "
"partners are out there showcasing their materials."
msgstr ""
"Etter Davids syn tillater denne tilnærmingen at markedet kan operere med "
"topp effektivitet. Openstaxs partnere trenger ikke å bekymre seg for å "
"utvikle lærebokinnhold, for de frigjøres fra disse utviklingskostnadene ved "
"å la dem fokusere på hva de gjør best.  Med OpenStax-lærebøker gratis "
"tilgjengelig, kan de tilby sine tjenester til lavere kostnad – ikke gratis, "
"men sparer fortsatt studentene for utgifter. OpenStax har ikke bare fordeler "
"ved å motta avgifter til støtte for sitt formål, men også ved gratis "
"publisitet og markedsføring. OpenStax har ingen salgsorganisasjon; partnerne "
"er der ute med sitt materiale som et utstillingsvindu."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7055
msgid ""
"OpenStax’s cost of sales to acquire a single student is very, very low and "
"is a fraction of what traditional players in the market face. This year, "
"Tyton Partners is actually evaluating the costs of sales for an OER effort "
"like OpenStax in comparison with incumbents. David looks forward to sharing "
"these findings with the community."
msgstr ""
"Openstax sine kostnad for verving av én student er veldig lav, en brøkdel av "
"hva tradisjonelle aktører i markedet møter. I år er Tyton Partners faktisk i "
"gang med å vurdere kostnadene for salg av OER-er som OpenStax med partnere. "
"David ser frem til å dele disse funnene med fellesskapet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7063
msgid ""
"While OpenStax books are available online for free, many students still want "
"a print copy. Through a partnership with a print and courier company, "
"OpenStax offers a complete solution that scales.  OpenStax sells tens of "
"thousands of print books. The price of an OpenStax sociology textbook is "
"about twenty-eight dollars, a fraction of what sociology textbooks usually "
"cost. OpenStax keeps the prices low but does aim to earn a small margin on "
"each book sold, which also contributes to ongoing operations."
msgstr ""
"Mens OpenStax-bøker er tilgjengelig gratis på nettet, vil mange studenter "
"fortsatt ønske en trykt utgave. Gjennom et partnerskap med et selskap som "
"håndter trykking og utsending, tilbyr OpenStax en komplett løsning som "
"skalerer. OpenStax selger titusenvis av bøker på papir. Én OpenStax-lærebok "
"i sosiologi koster rundt tjueåtte dollar, en brøkdel av hva "
"sosiologilærebøker vanligvis koster. OpenStax holder prisene lave, men har "
"som mål å ha en liten fortjeneste på hver solgte bok, som også bidrar til å "
"finansiere den løpende driften."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7073
msgid ""
"Campus-based bookstores are part of the OpenStax solution.  OpenStax "
"collaborates with NACSCORP (the National Association of College Stores "
"Corporation) to provide print versions of their textbooks in the stores. "
"While the overall cost of the textbook is significantly less than a "
"traditional textbook, bookstores can still make a profit on sales. Sometimes "
"students take the savings they have from the lower-priced book and use it to "
"buy other things in the bookstore. And OpenStax is trying to break the "
"expensive behavior of excessive returns by having a no-returns policy. This "
"is working well, since the sell-through of their print titles is virtually a "
"hundred percent."
msgstr ""
"Campusbaserte bokhandlere er del av OpenStax-løsningen. OpenStax samarbeider "
"med NACSCORP (National Association of College Stores Corporation) om å gi ut "
"versjoner av sine lærebøker til butikkene. Mens totalkostnadene for læreboka "
"er betydelig mindre enn en tradisjonell lærebok, kan bokhandlere fortsatt få "
"en fortjeneste på salg. Noen ganger bruker studenter det de sparer på en "
"rimeligere bok til å kjøpe andre ting i bokhandelen. Og OpenStax prøver å "
"bryte den dyre måten det er å ha et overdrevent omfang av returer - ved å ha "
"en ingen-retur politikk. Dette fungerer bra, siden de trykte titlene deres "
"tydeligvis selger ut nesten hundre prosent."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7086
msgid ""
"David thinks of the OpenStax model as <quote>OER 2.0.</quote> So what is OER "
"1.0? Historically in the OER field, many OER initiatives have been locally "
"funded by institutions or government ministries. In David’s view, this "
"results in content that has high local value but is infrequently adopted "
"nationally. It’s therefore difficult to show payback over a time scale that "
"is reasonable."
msgstr ""
"David tenker på OpenStax-modellen som <quote>OER 2.0</quote>. Så hva er OER "
"1.0? Ser en historisk på OER, er mange OER-initiativ lokalt finansiert av "
"institusjoner eller departementer. Etter Davids syn resulterer dette i "
"innhold som har høy lokal verdi, men vedtas sjelden nasjonalt. Det er dermed "
"vanskelig å kunne vise at investeringen betaler seg i løpet av rimelig tid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7094
msgid ""
"OER 2.0 is about OER intended to be used and adopted on a national level "
"right from the start. This requires a bigger investment up front but pays "
"off through wide geographic adoption. The OER 2.0 process for OpenStax "
"involves two development models. The first is what David calls the "
"acquisition model, where OpenStax purchases the rights from a publisher or "
"author for an already published book and then extensively revises it. The "
"OpenStax physics textbook, for example, was licensed from an author after "
"the publisher released the rights back to the authors. The second model is "
"to develop a book from scratch, a good example being their biology book."
msgstr ""
"OER 2.0 handler om OER skal blir brukt og vedtatt på nasjonalt nivå helt fra "
"starten. Dette krever en større investering i forkant, men lønner seg "
"gjennom bredere geografisk spredning. OER 2.0-prosessen for OpenStax "
"omfatter to utviklingsmodeller. Først er hva David kaller anskaffelsen av "
"modellen, der OpenStax kjøper rettigheter fra utgiver eller forfatter for en "
"allerede publisert bok,  og foretar en bred revisjon av den. OpenStax fysikk-"
"lærebok, for eksempel, ble lisensiert fra forfatter etter at utgiveren ga "
"tilbake  rettighetene til forfatterne. Den andre modellen er å utvikle en "
"bok fra bunnen av, et godt eksempel er deres biologibok."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7107
msgid ""
"The process is similar for both models. First they look at the scope and "
"sequence of existing textbooks. They ask questions like what does the "
"customer need? Where are students having challenges? Then they identify "
"potential authors and put them through a rigorous evaluation—only one in ten "
"authors make it through.  OpenStax selects a team of authors who come "
"together to develop a template for a chapter and collectively write the "
"first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do "
"books with just a single author as David says it risks the project going "
"longer than scheduled.) The draft is peer-reviewed with no less than three "
"reviewers per chapter. A second draft is generated, with artists producing "
"illustrations and visuals to go along with the text. The book is then "
"copyedited to ensure grammatical correctness and a singular voice. Finally, "
"it goes into production and through a final proofread. The whole process is "
"very time-consuming."
msgstr ""
"Prosessen er lik for begge modeller. Først ser de på omfanget og sekvensen "
"til eksisterende lærebøker. De stiller spørsmål som hva kunden trenger? Hvor "
"har studenter utfordringer? Så identifiserer de potensielle forfattere, og "
"har en grundig evaluering, bare én av ti forfattere slipper gjennom. "
"OpenStax setter sammen et team av forfattere som kommer sammen for å utvikle "
"en mal for et kapittel, og sammen skrive det første utkastet (eller "
"reviderer det, i oppkjøpsmodellen). (OpenStax lager ikke bøker med bare en "
"enkelt forfatter, ettersom David sier at en da risikerer at prosjektet går "
"lenger enn planlagt.) Utkastet er fagfellevurdert med ikke mindre enn tre "
"vurderinger av hvert kapittel. Et utkast nummer to blir laget, med kunstnere "
"som lager illustrasjoner og bilder sammen med teksten. Boken blir deretter "
"redigert for å sikre at den er grammatisk korrekt og med samme stemme. Til "
"slutt går den i produksjon og gjennom en endelig korrekturlesing. Hele "
"prosessen er svært tidkrevende."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7125
msgid ""
"All the people involved in this process are paid. OpenStax does not rely on "
"volunteers. Writers, reviewers, illustrators, and editors are all paid an up-"
"front fee—OpenStax does not use a royalty model. A best-selling author might "
"make more money under the traditional publishing model, but that is only "
"maybe 5 percent of all authors. From David’s perspective, 95 percent of all "
"authors do better under the OER 2.0 model, as there is no risk to them and "
"they earn all the money up front."
msgstr ""
"Alle involverte i denne prosessen får betalt. OpenStax stoler ikke på "
"frivillige. Forfattere, korrekturlesere, illustratører og redaktører får "
"alle betalt et forskuddshonorar. OpenStax bruker ikke en royalty-modell. En "
"bestselgende forfatter kan tjene mer penger med den tradisjonelle "
"publiseringsmodellen, men det gjelder kanskje bare 5 prosent av alle "
"forfattere. Fra Davids perspektiv, tjener 95 prosent av alle forfattere "
"bedre med OER 2.0-modellen, da det ikke er noen  risiko for dem da pengene "
"er forhåndsbetalt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7135
msgid ""
"David thinks of the Attribution license (CC BY) as the <quote>innovation "
"license.</quote> It’s core to the mission of OpenStax, letting people use "
"their textbooks in innovative ways without having to ask for permission. It "
"frees up the whole market and has been central to OpenStax being able to "
"bring on partners.  OpenStax sees a lot of customization of their materials. "
"By enabling frictionless remixing, CC BY gives teachers control and academic "
"freedom."
msgstr ""
"David tenker på Attribution-lisensen (CC BY) som <quote>nyskapningslisensen</"
"quote>. Den er kjernen i formålet med OpenStax, å la folk bruke lærebøkene "
"deres på nyskapende måter uten å måtte be om tillatelse. Det frigjør hele "
"markedet, og har vært sentral for at OpenStax skulle kunne få partnere. Det "
"gjøres mye tilpassing av materialet til OpenStax.  Ved å åpne for "
"friksjonsfri remiksing gir CC BY lærere kontroll og akademisk frihet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7145
msgid ""
"Using CC BY is also a good example of using strategies that traditional "
"publishers can’t. Traditional publishers rely on copyright to prevent others "
"from making copies and heavily invest in digital rights management to ensure "
"their books aren’t shared.  By using CC BY, OpenStax avoids having to deal "
"with digital rights management and its costs. OpenStax books can be copied "
"and shared over and over again. CC BY changes the rules of engagement and "
"takes advantage of traditional market inefficiencies."
msgstr ""
"Å bruke CC er også et godt eksempel på strategier som tradisjonelle utgivere "
"ikke kan bruke. Tradisjonelle utgivere må stole på opphavsretten for å "
"hindre kopiering, og investere tungt i å følge opp digitale rettigheter for "
"å sikre at bøkene deres ikke blir delt.  Ved hjelp av CC BY unngår OpenStax "
"å måtte håndtere digitale rettigheter og medfølgende kostnader. OpenStax-"
"bøker kan kopieres og deles igjen og igjen. CC BY endrer betingelsene og "
"utnytter ineffektiviteten i det tradisjonelle markedet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7155
msgid ""
"As of September 16, 2016, OpenStax has achieved some impressive results. "
"From the OpenStax at a Glance fact sheet from their recent press kit:"
msgstr ""
"Pr. 16. september 2016 kan OpenStax vise endel imponerende resultater. Her "
"fra OpenStax-faktablad (OpenStax at a Glance fact sheet)  i den seneste "
"presseinformasjonen:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7162
msgid "Books published: 23"
msgstr "Bøker publisert: 23"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7167
msgid "Students who have used OpenStax: 1.6 million"
msgstr "Studenter som har brukt OpenStax: 1,6 millioner"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7172
msgid "Money saved for students: $155 million"
msgstr "Penger spart for studenter: 155 millioner dollar"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7177
msgid "Money saved for students in the 2016/17 academic year: $77 million"
msgstr "Penger spart for studenter i studieåret 2016/17: 77 millioner dollar"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7183
msgid ""
"Schools that have used OpenStax: 2,668 (This number reflects all "
"institutions using at least one OpenStax textbook. Out of 2,668 schools, 517 "
"are two-year colleges, 835 four-year colleges and universities, and 344 "
"colleges and universities outside the U.S.)"
msgstr ""
"Skoler som har brukt OpenStax: 2 668 (dette tallet viser alle institusjoner "
"som bruker minst én OpenStax lærebok. Av 2 668 skoler er 517 toårige "
"høgskoler, 835 fireårige høgskoler og universiteter, og 344 høyskoler og "
"universiteter utenfor USA)"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7192
msgid ""
"While OpenStax has to date been focused on the United States, there is "
"overseas adoption especially in the science, technology, engineering, and "
"math (STEM) fields. Large scale adoption in the United States is seen as a "
"necessary precursor to international interest."
msgstr ""
"Mens OpenStax hittil har vært fokusert på USA, skjer den utenlandske "
"innføringen spesielt på feltene innen vitenskap, teknologi, ingeniørfag og "
"matematikk (STEM (Science, technology, engineering, and mathematics)). "
"Storskala spredning i USA sees på som en nødvendig forutsetning for "
"internasjonal interesse."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7199
msgid ""
"OpenStax has primarily focused on introductory-level college courses where "
"there is high enrollment, but they are starting to think about verticals—a "
"broad offering for a specific group or need. David thinks it would be "
"terrific if OpenStax could provide access to free textbooks through the "
"entire curriculum of a nursing degree, for example."
msgstr ""
"OpenStax har primært fokusert på innledende høyskolekurs (college courses) "
"hvor det er mange registrerte, men de begynner å tenke vertikalt – på et "
"bredt tilbud for en bestemt gruppe, eller et bestemt behov. David synes det "
"ville være veldig bra hvis OpenStax kunne gi tilgang til gratis lærebøker "
"gjennom hele pensumet, for eksempel for en sykepleierutdanning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7207
msgid ""
"Finally, for OpenStax success is not just about the adoption of their "
"textbooks and student savings. There is a human aspect to the work that is "
"hard to quantify but incredibly important. They get emails from students "
"saying how OpenStax saved them from making difficult choices like buying "
"food or a textbook. OpenStax would also like to assess the impact their "
"books have on learning efficiency, persistence, and completion. By building "
"an open business model based on Creative Commons, OpenStax is making it "
"possible for every student who wants access to education to get it."
msgstr ""
"Til slutt, for OpenStax-suksess handler ikke bare om spredning av lærebøker "
"og besparelser for studentene. Det er et menneskelig aspekt ved arbeidet, "
"som det er vanskelig å kvantifisere, men er utrolig viktig. De får e-"
"postmeldinger fra studenter om hvordan OpenStax reddet dem fra vanskelige "
"valg som å kjøpe mat eller en lærebok. OpenStax ønsker også å vurdere "
"effekten bøkene deres har på læringseffektiviteten, utholdenheten og "
"fullførelsen. Ved å bygge på en åpen forretningsmodell basert på Creative "
"Commons, gjør OpenStax det mulig for alle studenter som ønsker å skaffe seg "
"en utdanning å kunne få den."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7220
msgid "Amanda Palmer"
msgstr "Amanda Palmer"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7223
msgid "Amanda Palmer is a musician, artist, and writer. Based in the U.S."
msgstr "Amanda Palmer er en musiker, kunstner og skribent.  Basert i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7227
msgid "<ulink url=\"http://amandapalmer.net\"/>"
msgstr "<ulink url=\"http://amandapalmer.net\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7229
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
"(subscription-based), pay-what-you-want, charging for physical copies (book "
"and album sales), charg-ing for in-person version (performances), selling "
"merchandise"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Folkefinansiering "
"(abonnementsbasert), betaling for fysiske kopier, varesalg"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7234
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 15, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 15. desember 2015"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7245
msgid ""
"<ulink url=\"http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/"
"amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-"
"swift/#44e20ce46d67\"/>"
msgstr ""
"<ulink url=\"http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/"
"amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-"
"swift/#44e20ce46d67\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7242
msgid ""
"Since the beginning of her career, Amanda Palmer has been on what she calls "
"a <quote>journey with no roadmap,</quote> continually experimenting to find "
"new ways to sustain her creative work.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""
"Siden starten på sin karrière, har Amanda Palmer vært på det hun kaller en "
"<quote>planløs reise</quote>, kontinuerlig eksperimenterende med å finne nye "
"måter å opprettholde sitt skapende arbeid på.<placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7248
msgid ""
"In her best-selling book, The Art of Asking, Amanda articulates exactly what "
"she has been and continues to strive for—<quote>the ideal sweet spot . . . "
"in which the artist can share freely and directly feel the reverberations of "
"their artistic gifts to the community, and make a living doing that.</quote>"
msgstr ""
"I sin bestselgerbok, <quote>The Art of Asking</quote>, formulerer Amanda "
"nøyaktig hva hun har vært, og hva hun fortsetter å strebe etter  – "
"<quote>det ideelle punktet ... der kunstneren fritt kan dele, og direkte "
"føle etterklangen av sine kunstneriske gaver til samfunnet, og leve av det</"
"quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7255
#, fuzzy
#| msgid ""
#| "While she seems to have successfully found that sweet spot for herself, "
#| "Amanda is the first to acknowledge there is no silver bullet. She thinks "
#| "the digital age is both an exciting and frustrating time for creators. "
#| "“On the one hand, we have this beautiful shareability,” Amanda said. “On "
#| "the other, you’ve got a bunch of confused artists wondering how to make "
#| "money to buy food so we can make more art.”"
msgid ""
"While she seems to have successfully found that sweet spot for herself, "
"Amanda is the first to acknowledge there is no silver bullet. She thinks the "
"digital age is both an exciting and frustrating time for creators. <quote>On "
"the one hand, we have this beautiful shareability,</quote> Amanda said. "
"<quote>On the other, you’ve got a bunch of confused artists wondering how to "
"make money to buy food so we can make more art.</quote>"
msgstr ""
"Mens hun for egen del synes å ha funnet dette vellykkede stedet, er Amanda "
"den første til å erkjenne at det ikke er noen snarvei.  Hun mener den "
"digitale tidsalderen både er en spennende og frustrerende tid for skaperen. "
"<quote>På den ene side har vi denne vakre delingen</quote>, sa Amanda. "
"<quote>På den andre siden har du en haug med forvirrede kunstnere som lurer "
"på hvordan man tjener penger til å kjøpe mat så vi kan lage mer kunst</"
"quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7264
#, fuzzy
#| msgid ""
#| "Amanda began her artistic career as a street performer. She would dress "
#| "up in an antique wedding gown, paint her face white, stand on a stack of "
#| "milk crates, and hand out flowers to strangers as part of a silent "
#| "dramatic performance. She collected money in a hat. Most people walked by "
#| "her without stopping, but an essential few stopped to watch and drop some "
#| "money into her hat to show their appreciation. Rather than dwelling on "
#| "the majority of people who ignored her, she felt thankful for those who "
#| "stopped. “All I needed was . . . some people,” she wrote in her book. "
#| "“Enough people. Enough to make it worth coming back the next day, enough "
#| "people to help me make rent and put food on the table. Enough so I could "
#| "keep making art.”"
msgid ""
"Amanda began her artistic career as a street performer. She would dress up "
"in an antique wedding gown, paint her face white, stand on a stack of milk "
"crates, and hand out flowers to strangers as part of a silent dramatic "
"performance. She collected money in a hat. Most people walked by her without "
"stopping, but an essential few stopped to watch and drop some money into her "
"hat to show their appreciation. Rather than dwelling on the majority of "
"people who ignored her, she felt thankful for those who stopped.  <quote>All "
"I needed was . . . some people,</quote> she wrote in her book. <quote>Enough "
"people. Enough to make it worth coming back the next day, enough people to "
"help me make rent and put food on the table. Enough so I could keep making "
"art.</quote>"
msgstr ""
"Amanda begynte sin kunstneriske karrière som en gateartist. Hun kunne kle "
"seg i en antikk brudekjole, male ansiktet hvitt, stå på en stabel med "
"melkekasser, og levere ut blomster til fremmede som en del av en taus, "
"dramatisk, opptreden. Hun samlet inn penger i en lue. De fleste gikk forbi "
"henne uten å stoppe, men noen få viktige stoppet for å se og legge noen "
"penger i lua for å vise sin takknemlighet. I stedet for å dvele ved de "
"fleste menneskene som ignorerte henne, følte hun takknemlighet for dem som "
"stoppet. <quote>Alt jeg trengte var ... noen mennesker</quote>, skrev hun i "
"sin bok. <quote>Nok folk. Nok til å gjøre det verdt å komme tilbake neste "
"dag, nok folk til å hjelpe meg til å betale husleia og sette mat på bordet. "
"Nok så jeg kunne fortsette å lage kunst.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7278
#, fuzzy
#| msgid ""
#| "Amanda has come a long way from her street-performing days, but her "
#| "career remains dominated by that same sentiment—finding ways to reach "
#| "“her crowd” and feeling gratitude when she does. With her band the "
#| "Dresden Dolls, Amanda tried the traditional path of signing with a record "
#| "label. It didn’t take for a variety of reasons, but one of them was that "
#| "the label had absolutely no interest in Amanda’s view of success. They "
#| "wanted hits, but making music for the masses was never what Amanda and "
#| "the Dresden Dolls set out to do."
msgid ""
"Amanda has come a long way from her street-performing days, but her career "
"remains dominated by that same sentiment—finding ways to reach <quote>her "
"crowd</quote> and feeling gratitude when she does. With her band the Dresden "
"Dolls, Amanda tried the traditional path of signing with a record label. It "
"didn’t take for a variety of reasons, but one of them was that the label had "
"absolutely no interest in Amanda’s view of success. They wanted hits, but "
"making music for the masses was never what Amanda and the Dresden Dolls set "
"out to do."
msgstr ""
"Amanda har kommet langt siden dagene som gateartist, men karrièren hennes "
"domineres fortsatt av den samme følelsen, å finne måter å nå <quote>sitt "
"publikum i mengden</quote>, og føle takknemlighet når hun gjør det. Med "
"hennes band, Dresden Dolls, prøvde Amanda den tradisjonelle veien for å "
"signere med et plateselskap. Det virket ikke, av en rekke årsaker, men en av "
"dem var at selskapet hadde absolutt ingen interesse for Amandas syn på "
"suksess. De ønsket slagere, men å lage musikk for massene var aldri hva "
"Amanda og Dresden Dolls var ment å skulle gjøre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7289
#, fuzzy
#| msgid ""
#| "After leaving the record label in 2008, she began experimenting with "
#| "different ways to make a living. She released music directly to the "
#| "public without involving a middle man, releasing digital files on a “pay "
#| "what you want” basis and selling CDs and vinyl.  She also made money from "
#| "live performances and merchandise sales.  Eventually, in 2012 she decided "
#| "to try her hand at the sort of crowdfunding we know so well today. Her "
#| "Kickstarter project started with a goal of $100,000, and she made $1.2 "
#| "million. It remains one of the most successful Kickstarter projects of "
#| "all time."
msgid ""
"After leaving the record label in 2008, she began experimenting with "
"different ways to make a living. She released music directly to the public "
"without involving a middle man, releasing digital files on a <quote>pay what "
"you want</quote> basis and selling CDs and vinyl. She also made money from "
"live performances and merchandise sales. Eventually, in 2012 she decided to "
"try her hand at the sort of crowdfunding we know so well today. Her "
"Kickstarter project started with a goal of $100,000, and she made $1.2 "
"million. It remains one of the most successful Kickstarter projects of all "
"time."
msgstr ""
"Etter at hun forlot plateselskapet i 2008, begynte hun å eksperimentere med "
"ulike måter å leve på. Hun ga ut musikk direkte til publikum uten å  "
"involvere en mellommann, la ut digitale filer på <quote>betal hva du vil</"
"quote>-basis, og solgte CD-er og vinyl.  Hun gjorde også penger på live-"
"opptredener og varesalg.  Til slutt, i 2012 besluttet hun å prøve seg på en "
"slags folkefinansiering som vi alle vet så godt hva er i dag. Hennes "
"Kickstarter-prosjekt startet med et mål på 100 000 dollar, og hun fikk inn "
"1,2 millioner dollar. Det er fortsatt et av de mest vellykkede Kickstarter-"
"prosjektene gjennom tidene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7301
#, fuzzy
#| msgid ""
#| "Today, Amanda has switched gears away from crowdfunding for specific "
#| "projects to instead getting consistent financial support from her fan "
#| "base on Patreon, a crowdfunding site that allows artists to get recurring "
#| "donations from fans. More than eight thousand people have signed up to "
#| "support her so she can create music, art, and any other creative “thing” "
#| "that she is inspired to make. The recurring pledges are made on a “per "
#| "thing” basis. All of the content she makes is made freely available under "
#| "an Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)."
msgid ""
"Today, Amanda has switched gears away from crowdfunding for specific "
"projects to instead getting consistent financial support from her fan base "
"on Patreon, a crowdfunding site that allows artists to get recurring "
"donations from fans. More than eight thousand people have signed up to "
"support her so she can create music, art, and any other creative "
"<quote>thing</quote> that she is inspired to make. The recurring pledges are "
"made on a <quote>per thing</quote> basis. All of the content she makes is "
"made freely available under an Attribution-NonCommercial-ShareAlike license "
"(CC BY-NC-SA)."
msgstr ""
"I dag har Amanda byttet fra folkefinansiering til spesifikke prosjekter, men "
"får i stedet jevn økonomisk støtte fra sin fan-base på Patreon, et nettsted "
"for folkefinansiering som lar artister få regelmessige donasjoner fra fans. "
"Mer enn åtte tusen mennesker har meldt seg til å støtte henne så hun kan "
"lage musikk, kunst, og andre kreative <quote>ting</quote> som hun blir "
"inspirert til å gjøre. Regelmessig tar hun initiativ på en <quote>pr. gang</"
"quote>-basis. Alt innhold hun lager gjøres fritt tilgjengelig med en "
"Attribution-NonCommercial-ShareAlike-lisens (CC BY-NC-SA)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7313
#, fuzzy
#| msgid ""
#| "Making her music and art available under Creative Commons licensing "
#| "undoubtedly limits her options for how she makes a living. But sharing "
#| "her work has been part of her model since the beginning of her career, "
#| "even before she discovered Creative Commons. Amanda says the Dresden "
#| "Dolls used to get ten emails per week from fans asking if they could use "
#| "their music for different projects. They said yes to all of the requests, "
#| "as long as it wasn’t for a completely for-profit venture. At the time, "
#| "they used a short-form agreement written by Amanda herself. “I made "
#| "everyone sign that contract so at least I wouldn’t be leaving the band "
#| "vulnerable to someone later going on and putting our music in a Camel "
#| "cigarette ad,” Amanda said. Once she discovered Creative Commons, "
#| "adopting the licenses was an easy decision because it gave them a more "
#| "formal, standardized way of doing what they had been doing all along. The "
#| "NonCommercial licenses were a natural fit."
msgid ""
"Making her music and art available under Creative Commons licensing "
"undoubtedly limits her options for how she makes a living. But sharing her "
"work has been part of her model since the beginning of her career, even "
"before she discovered Creative Commons. Amanda says the Dresden Dolls used "
"to get ten emails per week from fans asking if they could use their music "
"for different projects. They said yes to all of the requests, as long as it "
"wasn’t for a completely for-profit venture. At the time, they used a short-"
"form agreement written by Amanda herself. <quote>I made everyone sign that "
"contract so at least I wouldn’t be leaving the band vulnerable to someone "
"later going on and putting our music in a Camel cigarette ad,</quote> Amanda "
"said. Once she discovered Creative Commons, adopting the licenses was an "
"easy decision because it gave them a more formal, standardized way of doing "
"what they had been doing all along. The NonCommercial licenses were a "
"natural fit."
msgstr ""
"Hennes musikk og kunst med Creative Commons-lisenser begrenser utvilsomt "
"hennes valgmuligheter for hvordan hun skaffer et levebrød. Men å dele sitt "
"arbeid har vært en del av hennes modell siden begynnelsen av hennes "
"karrière, selv før hun oppdaget Creative Commons. Amanda sier at Dresden "
"Dolls brukte å få ti e-poster pr. uke fra fans som spurte om de kunne bruke "
"hennes musikk i forskjellige prosjekter. De sa ja til alle forespørsler, så "
"lenge det ikke var for et helt inntektsgivende formål. Samtidig brukte de en "
"kortfattet avtale skrevet av Amanda selv. <quote>Jeg fikk alle til å signere "
"den kontrakten så jeg ikke gjorde bandet sårbart for at noen senere brukte "
"vår musikk i en Camel sigarettannonse</quote>, sa Amanda. Straks hun "
"oppdaget Creative Commons, var det en lett beslutning å ta i bruk lisensene "
"fordi det ga dem en mer formell og standardisert måte å gjøre hva de hadde "
"gjort hele tiden. De ikke-kommersielle lisensene var en naturlig tilpasning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7331
#, fuzzy
#| msgid ""
#| "Amanda embraces the way her fans share and build upon her music.  In The "
#| "Art of Asking, she wrote that some of her fans’ unofficial videos using "
#| "her music surpass the official videos in number of views on YouTube. "
#| "Rather than seeing this sort of thing as competition, Amanda celebrates "
#| "it. “We got into this because we wanted to share the joy of music,” she "
#| "said."
msgid ""
"Amanda embraces the way her fans share and build upon her music.  In The Art "
"of Asking, she wrote that some of her fans’ unofficial videos using her "
"music surpass the official videos in number of views on YouTube. Rather than "
"seeing this sort of thing as competition, Amanda celebrates it. <quote>We "
"got into this because we wanted to share the joy of music,</quote> she said."
msgstr ""
"Amanda omfavner måten tilhengerne hennes deler og bygger videre på musikken "
"hennes. I <quote>The Art of Asking</quote> skrev hun at noen av tilhengerne "
"har laget uoffisielle videoer med hennes musikk. De overgår faktisk de "
"offisielle videoene i antall visninger på YouTube. I stedet for å se på "
"dette som en slags konkurranse, synes Amanda det er flott. <quote>Jeg "
"startet med dette fordi jeg ønsket å dele musikkgleden</quote>, sier hun."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7339
#, fuzzy
#| msgid ""
#| "This is symbolic of how nearly everything she does in her career is "
#| "motivated by a desire to connect with her fans. At the start of her "
#| "career, she and the band would throw concerts at house parties. As the "
#| "gatherings grew, the line between fans and friends was completely "
#| "blurred. “Not only did most our early fans know where I lived and where "
#| "we practiced, but most of them had also been in my kitchen,” Amanda wrote "
#| "in The Art of Asking."
msgid ""
"This is symbolic of how nearly everything she does in her career is "
"motivated by a desire to connect with her fans. At the start of her career, "
"she and the band would throw concerts at house parties. As the gatherings "
"grew, the line between fans and friends was completely blurred. <quote>Not "
"only did most our early fans know where I lived and where we practiced, but "
"most of them had also been in my kitchen,</quote> Amanda wrote in The Art of "
"Asking."
msgstr ""
"Dette er symbolsk for at nesten alt hun gjør i sin karrière, er motivert av "
"et ønske om tilknytning til fansen. I starten av karrièren startet bandet "
"med konserter i hjemmeselskaper. Ettersom samlingene vokste, ble linjen "
"mellom fans og venner helt uskarpe. <quote>Ikke bare visste våre tidligste "
"fans hvor jeg bodde, og hvor vi øvde, men de fleste av dem hadde også vært "
"på kjøkkenet mitt</quote>, skrev Amanda i <quote>The Art of Asking</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7349
#, fuzzy
#| msgid ""
#| "Even though her fan base is now huge and global, she continues to seek "
#| "this sort of human connection with her fans. She seeks out face-to-face "
#| "contact with her fans every chance she can get. Her hugely successful "
#| "Kickstarter featured fifty concerts at house parties for backers. She "
#| "spends hours in the signing line after shows. It helps that Amanda has "
#| "the kind of dynamic, engaging personality that instantly draws people to "
#| "her, but a big component of her ability to connect with people is her "
#| "willingness to listen. “Listening fast and caring immediately is a skill "
#| "unto itself,” Amanda wrote."
msgid ""
"Even though her fan base is now huge and global, she continues to seek this "
"sort of human connection with her fans. She seeks out face-to-face contact "
"with her fans every chance she can get. Her hugely successful Kickstarter "
"featured fifty concerts at house parties for backers. She spends hours in "
"the signing line after shows. It helps that Amanda has the kind of dynamic, "
"engaging personality that instantly draws people to her, but a big component "
"of her ability to connect with people is her willingness to listen. "
"<quote>Listening fast and caring immediately is a skill unto itself,</quote> "
"Amanda wrote."
msgstr ""
"Selv om fan-basen nå er stor og global, fortsetter hun å søke denne typen "
"menneskelig kobling med fansen. Hun søker personlig kontakt med fansen hver "
"gang hun får en sjanse. Hennes suksessfulle Kickstarter omfattet femti "
"konserter på hjemmeselskaper for tilhengere. Hun tilbringer timer med "
"signering etter opptredenene. Det hjelper at Amanda har en dynamisk og "
"engasjerende personlighet som umiddelbart trekker folk til henne, men en "
"stor del av hennes evne til å få kontakt med folk er viljen hennes til å "
"lytte. <quote>Lytte raskt og omsorg umiddelbart er en ferdighet for seg "
"selv</quote>, skrev Amanda."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7361
msgid ""
"Another part of the connection fans feel with Amanda is how much they know "
"about her life. Rather than trying to craft a public persona or image, she "
"essentially lives her life as an open book.  She has written openly about "
"incredibly personal events in her life, and she isn’t afraid to be "
"vulnerable. Having that kind of trust in her fans—the trust it takes to be "
"truly honest—begets trust from her fans in return. When she meets fans for "
"the first time after a show, they can legitimately feel like they know her."
msgstr ""
"En del av tilknytningen fansen føler til Amanda er hvor mye de vet om hennes "
"liv. Snarere enn å prøve å skape en offentlig person eller et bilde, lever "
"hun i hovedsak livet som en åpen bok. Hun har skrevet åpent om utrolig "
"personlige hendelser i livet sitt, og hun er ikke redd for å være sårbar. Å "
"ha den slags tillit til fansen – tilliten som kreves for å være virkelig "
"ærlig  – avler tillit fra fansen i retur. Når hun møter fans for første gang "
"etter en forestilling, kan de helt riktig føle at de kjenner henne."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7370
#, fuzzy
#| msgid ""
#| "“With social media, we’re so concerned with the picture looking palatable "
#| "and consumable that we forget that being human and showing the flaws and "
#| "exposing the vulnerability actually create a deeper connection than just "
#| "looking fantastic,” Amanda said.  “Everything in our culture is telling "
#| "us otherwise. But my experience has shown me that the risk of making "
#| "yourself vulnerable is almost always worth it.”"
msgid ""
"<quote>With social media, we’re so concerned with the picture looking "
"palatable and consumable that we forget that being human and showing the "
"flaws and exposing the vulnerability actually create a deeper connection "
"than just looking fantastic,</quote> Amanda said. <quote>Everything in our "
"culture is telling us otherwise. But my experience has shown me that the "
"risk of making yourself vulnerable is almost always worth it.</quote>"
msgstr ""
"<quote>Med sosiale medier er vi så opptatt med at bildet ser akseptabelt ut, "
"så vi glemmer å være menneske, og at å vise feilene og sårbarhet, faktisk "
"skaper en dypere forbindelse enn det å bare se fantastisk ut</quote>, sa "
"Amanda.  <quote>Alt i vår kultur forteller oss noe annet. Men min erfaring "
"har vist meg at risikoen for å vise seg selv sårbar, er nesten alltid verdt "
"det.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7379
msgid ""
"Not only does she disclose intimate details of her life to them, she sleeps "
"on their couches, listens to their stories, cries with them. In short, she "
"treats her fans like friends in nearly every possible way, even when they "
"are complete strangers. This mentality—that fans are friends—is completely "
"intertwined with Amanda’s success as an artist. It is also intertwined with "
"her use of Creative Commons licenses. Because that is what you do with your "
"friends—you share."
msgstr ""
"Ikke bare avslører hun intime detaljer om sitt liv til dem, hun sover på "
"deres sofaer, lytter til deres historier, gråter med dem. Kort sagt, hun "
"behandler fansen som venner på nesten alle mulige måter, selv når de er "
"fullstendig fremmede. Denne mentaliteten, at fans er venner – er helt "
"sammenvevd med Amandas suksess som kunstner. Det er også vevd sammen med "
"hennes bruk av Creative Commons-lisenser. Fordi det er det du gjør med "
"vennene dine – du deler."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7389
msgid ""
"After years of investing time and energy into building trust with her fans, "
"she has a strong enough relationship with them to ask for support—through "
"pay-what-you-want donations, Kickstarter, Patreon, or even asking them to "
"lend a hand at a concert. As Amanda explains it, crowdfunding (which is "
"really what all of these different things are) is about asking for support "
"from people who know and trust you. People who feel personally invested in "
"your success."
msgstr ""
"Etter år med investert tid og energi i å bygge tillit til fansen, har hun et "
"sterkt nok forhold til dem til å be om støtte gjennom Betal-hva-du-vil-"
"donasjoner, Kickstarter, Patreon, eller selv å be dem å ta i et tak på en "
"konsert. Som Amanda forklarer det, folkefinansiering (noe som virkelig er "
"hva alle disse forskjellige tingene er) er å be om støtte fra folk som "
"kjenner og stoler på deg. Personer som føler at de personlig har investert i "
"din suksess."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7398
#, fuzzy
#| msgid ""
#| "“When you openly, radically trust people, they not only take care of you, "
#| "they become your allies, your family,” she wrote. There really is a "
#| "feeling of solidarity within her core fan base. From the beginning, "
#| "Amanda and her band encouraged people to dress up for their shows. They "
#| "consciously cultivated a feeling of belonging to their “weird little "
#| "family.”"
msgid ""
"<quote>When you openly, radically trust people, they not only take care of "
"you, they become your allies, your family,</quote> she wrote. There really "
"is a feeling of solidarity within her core fan base. From the beginning, "
"Amanda and her band encouraged people to dress up for their shows. They "
"consciously cultivated a feeling of belonging to their <quote>weird little "
"family.</quote>"
msgstr ""
"<quote>Når du åpent, virkelig stoler mennesker, tar de ikke bare ta vare på "
"deg, de blir dine allierte, din familie</quote>, skrev hun. Det er virkelig "
"en følelse av samhold hos kjernen av hennes fans. Fra starten av  "
"<quote>Amanda and her band</quote>, oppfordret hun folk til å kle seg opp "
"til sine forestillinger. De dyrket en bevisst følelse av tilhørighet til "
"<quote>denne rare lille familien</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7406
#, fuzzy
#| msgid ""
#| "This sort of intimacy with fans is not possible or even desirable for "
#| "every creator. “I don’t take for granted that I happen to be the type of "
#| "person who loves cavorting with strangers,” Amanda said. “I recognize "
#| "that it’s not necessarily everyone’s idea of a good time. Everyone does "
#| "it differently. Replicating what I have done won’t work for others if it "
#| "isn’t joyful to them. It’s about finding a way to channel energy in a way "
#| "that is joyful to you.”"
msgid ""
"This sort of intimacy with fans is not possible or even desirable for every "
"creator. <quote>I don’t take for granted that I happen to be the type of "
"person who loves cavorting with strangers,</quote> Amanda said. <quote>I "
"recognize that it’s not necessarily everyone’s idea of a good time. Everyone "
"does it differently. Replicating what I have done won’t work for others if "
"it isn’t joyful to them. It’s about finding a way to channel energy in a way "
"that is joyful to you.</quote>"
msgstr ""
"Slik intimitet med fans er ikke mulig, eller egentlig ønskelig for alle "
"artister. <quote>Jeg tar det ikke for gitt at jeg tilfeldigvis er den typen "
"person som elsker å danse omkring med fremmede</quote>, sa Amanda. "
"<quote>Jeg erkjenner at det ikke nødvendigvis er alles forestilling om å ha "
"det trivelig. Alle gjør det forskjellig. Å gjenta hva jeg har gjort, "
"fungerer ikke for andre hvis det ikke er en glede for dem. Det gjelder å "
"finne en måte å kanalisere sin energi på som gleder deg.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7416
msgid ""
"Yet while Amanda joyfully interacts with her fans and involves them in her "
"work as much as possible, she does keep one job primarily to herself—writing "
"the music. She loves the creativity with which her fans use and adapt her "
"work, but she intentionally does not involve them at the first stage of "
"creating her artistic work. And, of course, the songs and music are what "
"initially draw people to Amanda Palmer. It is only once she has connected to "
"people through her music that she can then begin to build ties with them on "
"a more personal level, both in person and online. In her book, Amanda "
"describes it as casting a net. It starts with the art and then the bond "
"strengthens with human connection."
msgstr ""
"Men mens Amanda frydefullt samhandler med fansen, og involverer dem i sitt "
"arbeid så mye som mulig, beholder hun én jobb primært for seg selv – å "
"skrive musikken. Hun elsker kreativiteten som fansen bruker, og tilpasser "
"sitt arbeid, men med vilje involverer hun dem ikke i den første fasen av "
"sitt kunstneriske arbeid. Og selvfølgelig, sangene og musikken er det som i "
"utgangspunktet trekker folk til Amanda Palmer. Det er bare når hun har "
"koblet til mennesker gjennom musikken sin at hun så kan begynne å bygge bånd "
"på et mer personlig nivå, både personlig og på nettet. I sin bok beskriver "
"Amanda at det er som å kaste et nett. Det starter med kunst, og deretter "
"styrkes båndet med menneskelige relasjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7429
#, fuzzy
#| msgid ""
#| "For Amanda, the entire point of being an artist is to establish and "
#| "maintain this connection. “It sounds so corny,” she said, “but my "
#| "experience in forty years on this planet has pointed me to an obvious "
#| "truth—that connection with human beings feels so much better and more "
#| "fulfilling than approaching art through a capitalist lens. There is no "
#| "more satisfying end goal than having someone tell you that what you do is "
#| "genuinely of value to them.”"
msgid ""
"For Amanda, the entire point of being an artist is to establish and maintain "
"this connection. <quote>It sounds so corny,</quote> she said, <quote>but my "
"experience in forty years on this planet has pointed me to an obvious truth—"
"that connection with human beings feels so much better and more fulfilling "
"than approaching art through a capitalist lens. There is no more satisfying "
"end goal than having someone tell you that what you do is genuinely of value "
"to them.</quote>"
msgstr ""
"For Amanda er hele poenget med å være kunstner å etablere og opprettholde "
"denne kontakten. <quote>Det høres så banalt ut</quote>, sa hun, <quote>men "
"min erfaring, med førti år på denne planeten, har gitt meg en åpenbar "
"sannhet, at forbindelse med mennesker føles så mye bedre og mer "
"tilfredsstillende enn å nærme seg kunst gjennom en kapitalistisk linse. Det "
"er ikke noe mer tilfredsstillende mål enn at noen forteller deg at hva du "
"gjør, virkelig er av verdi for dem.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7439
msgid ""
"As she explains it, when a fan gives her a ten-dollar bill, usually what "
"they are saying is that the money symbolizes some deeper value the music "
"provided them. For Amanda, art is not just a product; it’s a relationship. "
"Viewed from this lens, what Amanda does today is not that different from "
"what she did as a young street performer. She shares her music and other "
"artistic gifts.  She shares herself. And then rather than forcing people to "
"help her, she lets them."
msgstr ""
"Som hun forklarer det, når en fan gir henne en ti dollar seddel, er det "
"vanligvis hva de med det sier at pengene symboliserer at musikken ga dem noe "
"av dypere verdi. For Amanda er kunst ikke bare et produkt, det er en "
"relasjon. Sett slik, er det Amanda gjør i dag ikke så forskjellig fra hva "
"hun gjorde som ung gateartist. Hun deler sin musikk og andre kunstneriske "
"gaver.  Hun deler seg selv. Og istedenfor å presse folk til å hjelpe henne, "
"lar hun dem gjøre det."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7450
msgid "PLOS (Public Library of Science)"
msgstr "PLOS (Public Library of Science - Offentlig vitenskapsbibliotek)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7453
msgid ""
"PLOS (Public Library of Science) is a nonprofit that publishes a library of "
"academic journals and other scientific literature.  Founded in 2000 in the U."
"S."
msgstr ""
"PLOS (Public Library of Science) er en ideell organisasjon som utgir et "
"bibliotek av akademiske tidsskrifter og annen vitenskapelig litteratur.  "
"Grunnlagt i år 2000 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7458
msgid "<ulink url=\"http://plos.org\"/>"
msgstr "<ulink url=\"http://plos.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7460
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging content "
"creators an author processing charge to be featured in the journal"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Innholdsleverandører "
"betaler en artikkelprosessavgift for å bli publisert i tidsskiftet"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7464
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 7, 2016"
msgstr "<emphasis role=\"strong\">Dato for intervju</emphasis>: 7. mars 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7466
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Louise Page, publisher"
msgstr "<emphasis role=\"strong\">Intervjuet</emphasis>: Louise Page, utgiver"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7474
msgid ""
"The Public Library of Science (PLOS) began in 2000 when three leading "
"scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an "
"online petition. They were calling for scientists to stop submitting papers "
"to journals that didn’t make the full text of their papers freely available "
"immediately or within six months. Although tens of thousands signed the "
"petition, most did not follow through. In August 2001, Patrick and Michael "
"announced that they would start their own nonprofit publishing operation to "
"do just what the petition promised. With start-up grant support from the "
"Gordon and Betty Moore Foundation, PLOS was launched to provide new open-"
"access journals for biomedicine, with research articles being released under "
"Attribution (CC BY) licenses."
msgstr ""
"The Public Library of Science (PLOS) (Det offentlige biblioteket for "
"vitenskap) startet i 2000 da tre ledende forskere – Harold E. Varmus, "
"Patrick O. Brown og Michael Eisen – startet en underskriftskampanje på "
"nettet. De ba forskere om å stoppe å sende artikler til journaler som ikke "
"gjorde den fulle teksten av artiklene fritt tilgjengelig umiddelbart, eller "
"innen seks måneder. Selv om titusenvis signerte oppropet, fulgte de fleste "
"ikke opp. I august 2001 kunngjorde Patrick og Michael at de ville starte sin "
"egen ideelle publiseringsoperasjon for å gjøre akkurat hva begjæringen "
"lovet. Med oppstartsstøtte fra Gordon og Betty Moore Foundation, ble PLOS "
"lansert for å gi ut nye tidsskrifter med åpen tilgang for biomedisin, med "
"forskningsartikler utgitt med Attribution (CC BY)-lisenser."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7488
msgid ""
"Traditionally, academic publishing begins with an author submitting a "
"manuscript to a publisher. After in-house technical and ethical "
"considerations, the article is then peer-reviewed to determine if the "
"quality of the work is acceptable for publishing.  Once accepted, the "
"publisher takes the article through the process of copyediting, typesetting, "
"and eventual publishing in a print or online publication. Traditional "
"journal publishers recover costs and earn profit by charging a subscription "
"fee to libraries or an access fee to users wanting to read the journal or "
"article."
msgstr ""
"Tradisjonelt starter vitenskapelig publisering med at en forfatter sender et "
"manuskript til en utgiver. Etter interne tekniske og etiske betraktninger "
"blir artikkelen deretter gjennomgått for å avgjøre om kvaliteten på arbeidet "
"er akseptabel for publisering.  Så snart den er akseptert, tar utgiveren "
"artikkelen gjennom prosessen med redigering, sats og eventuell publisering i "
"en trykket eller elektronisk publikasjon. Tradisjonelle journalutgivere får "
"dekket kostnader, og har fortjeneste på en abonnementsavgift til "
"biblioteker, eller en tilgangsavgift fra brukere som ønsker å lese journalen "
"eller artikkelen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7499
msgid ""
"For Louise Page, the current publisher of PLOS, this traditional model "
"results in inequity. Access is restricted to those who can pay. Most "
"research is funded through government-appointed agencies, that is, with "
"public funds. It’s unjust that the public who funded the research would be "
"required to pay again to access the results. Not everyone can afford the "
"ever-escalating subscription fees publishers charge, especially when library "
"budgets are being reduced. Restricting access to the results of scientific "
"research slows the dissemination of this research and advancement of the "
"field. It was time for a new model."
msgstr ""
"For Louise Page, den gjeldende utgiveren av PLOS, gir denne tradisjonelle "
"modellen forskjellsbehandling. Tilgang er begrenset til dem som kan betale. "
"Mest forskning er finansiert via offentlige organer, det vil si med "
"offentlige midler. Det er urettferdig at publikum, som finansierte "
"forskningen, blir pålagt å betale en gang til for tilgang til resultatene. "
"Ikke alle vil ha råd til å betale de stadig økende abonnementsavgiftene "
"utgiverne krever, spesielt når bibliotekenes budsjetter reduseres. Begrenset "
"tilgang til resultatene av vitenskapelig forskning bremser formidling av "
"denne forskningen, og utvikling av fagfeltet. Det var på tide med en ny "
"modell."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7511
msgid ""
"That new model became known as open access. That is, free and open "
"availability on the Internet. Open-access research articles are not behind a "
"paywall and do not require a login. A key benefit of open access is that it "
"allows people to freely use, copy, and distribute the articles, as they are "
"primarily published under an Attribution (CC BY) license (which only "
"requires the user to provide appropriate attribution). And more importantly, "
"policy makers, clinicians, entrepreneurs, educators, and students around the "
"world have free and timely access to the latest research immediately on "
"publication."
msgstr ""
"Denne nye modellen ble kjent som åpen tilgang. Den er gratis og med åpen "
"tilgang på Internett. Åpne forskningsartikler ligger ikke bak en "
"betalingsvegg, og krever ikke pålogging. En viktig fordel med åpen tilgang "
"er at den tillater folk å fritt bruke, kopiere og distribuere artikler, da "
"de er primært publisert under en Attribution (CC BY)-lisens (som bare krever "
"at brukeren angir passende henvisning). Og enda viktigere, "
"beslutningstakere, klinikere, gründere, lærere og studenter verden rundt har "
"fri og betimelig tilgang til den nyeste forskningen umiddelbart ved "
"publisering."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7523
msgid ""
"However, open access requires rethinking the business model of research "
"publication. Rather than charge a subscription fee to access the journal, "
"PLOS decided to turn the model on its head and charge a publication fee, "
"known as an article-processing charge.  This up-front fee, generally paid by "
"the funder of the research or the author’s institution, covers the expenses "
"such as editorial oversight, peer-review management, journal production, "
"online hosting, and support for discovery. Fees are per article and are "
"billed upon acceptance for publishing. There are no additional charges based "
"on word length, figures, or other elements."
msgstr ""
"Imidlertid krever åpen tilgang at forretningsmodellen for "
"forskningspublisering må gjennomgås på nytt. Heller enn å kreve en "
"abonnementsavgift for journalen, besluttet PLOS å snu modellen på hodet og "
"kreve et publiseringsgebyr, kjent som en artikkelbehandlingskostnad.  Denne "
"forskuddsavgiften, vanligvis betalt av den som finansierer forskningen, "
"eller forfatterens institusjon, dekker utgifter som redaksjonell "
"gjennomgang, organisering av fagfellevurdering, journalproduksjon, plass på "
"nettet og fremleggelse. Avgifter er pr. artikkel og faktureres ved aksept "
"for publisering. Det er ingen ekstrakostnader basert på antall ord, "
"tegninger, tall eller andre elementer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7535
msgid ""
"Calculating the article-processing charge involves taking all the costs "
"associated with publishing the journal and determining a cost per article "
"that collectively recovers costs. For PLOS’s journals in biology, medicine, "
"genetics, computational biology, neglected tropical diseases, and pathogens, "
"the article-processing charge ranges from $2,250 to $2,900. Article-"
"publication charges for PLOS ONE, a journal started in 2006, are just under "
"$1,500."
msgstr ""
"Å beregne artikkelbehandlingsavgiften krever å ta med alle kostnader "
"forbundet med å publisere tidsskriftet, og fastsette en kostnad pr. artikkel "
"som samlet dekker kostnadene. For PLOSs tidsskrifter i biologi, medisin, "
"genetikk, beregningsbiologi, forsømte tropiske sykdommer og patogener, "
"varierer betalingen for artikkelbehandlingen fra 2250 dollar til 2900 "
"dollar. Betalingen for artikkelpublikasjoner i PLOS ONE, et tidsskrift "
"startet i 2006, er like under 1500 dollar."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7544
msgid ""
"PLOS believes that lack of funds should not be a barrier to publication. "
"Since its inception, PLOS has provided fee support for individuals and "
"institutions to help authors who can’t afford the article-processing charges."
msgstr ""
"PLOS mener at mangel på midler ikke bør være en barriere for publisering. "
"Siden begynnelsen, har PLOS gitt betalingsstøtte til enkeltpersoner og "
"institusjoner for å hjelpe forfattere som ikke har råd til kostnadene for "
"artikkelbehandling."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7550
msgid ""
"Louise identifies marketing as one area of big difference between PLOS and "
"traditional journal publishers. Traditional journals have to invest heavily "
"in staff, buildings, and infrastructure to market their journal and convince "
"customers to subscribe.  Restricting access to subscribers means that tools "
"for managing access control are necessary. They spend millions of dollars on "
"access-control systems, staff to manage them, and sales staff.  With PLOS’s "
"open-access publishing, there’s no need for these massive expenses; the "
"articles are free, open, and accessible to all upon publication. "
"Additionally, traditional publishers tend to spend more on marketing to "
"libraries, who ultimately pay the subscription fees. PLOS provides a better "
"service for authors by promoting their research directly to the research "
"community and giving the authors exposure. And this encourages other authors "
"to submit their work for publication."
msgstr ""
"Louise identifiserer markedsføring som et område med stor forskjell mellom "
"PLOS og tradisjonelle tidsskriftutgivere. Tradisjonelle tidsskriter må "
"investere tungt i ansatte, bygninger og infrastruktur for å markedsføre sine "
"tidsskrifter og overbevise kunder om å abonnere.  Å begrense tilgang til "
"abonnenter betyr at verktøy for å administrere tilgangskontroll blir "
"nødvendig. De bruker millioner av dollar på systemer for tilgangskontroll, "
"ansatte som administrerer dem og selgere.  Med PLOSs åpen tilgang "
"publisering er det ikke behov for disse massive utgiftene; artiklene er fri, "
"åpen og tilgjengelig for alle ved publikasjon. I tillegg pleier "
"tradisjonelle utgivere å bruke mer på markedsføring til biblioteker, som til "
"slutt betaler for abonnementet. PLOS gir bedre service for forfattere ved å "
"fremme deres forskning direkte til forskningsfellesskapet og gi forfatterne "
"eksponering. Og dette oppfordrer andre forfattere til å sende sitt arbeid "
"for publisering."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7567
msgid ""
"For Louise, PLOS would not exist without the Attribution license (CC BY). "
"This makes it very clear what rights are associated with the content and "
"provides a safe way for researchers to make their work available while "
"ensuring they get recognition (appropriate attribution). For PLOS, all of "
"this aligns with how they think research content should be published and "
"disseminated."
msgstr ""
"For Louise ville PLOS ikke eksistert uten Attribution-lisens (CC BY). Denne "
"gjør det veldig klart hvilke rettigheter som er knyttet til innholdet, og "
"gir en sikker måte for forskere å gjøre sitt arbeid tilgjengelig, og "
"samtidig sikre at de får anerkjennelse (riktige henvisninger). For PLOS er "
"alt dette knyttet opp mot hvordan de mener forskningsinnhold skal bli "
"publisert og spredd."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7575
msgid ""
"PLOS also has a broad open-data policy. To get their research paper "
"published, PLOS authors must also make their data available in a public "
"repository and provide a data-availability statement."
msgstr ""
"PLOS har også en bred åpen-datapolitikk. For å få sine forskningsartikler "
"publisert må PLOS sine bidragsytere også gjøre data tilgjengelige i en "
"offentlig kildebrønn, og gi en erklæring om datatilgjengelighet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7580
msgid ""
"Business-operation costs associated with the open-access model still largely "
"follow the existing publishing model. PLOS journals are online only, but the "
"editorial, peer-review, production, typesetting, and publishing stages are "
"all the same as for a traditional publisher. The editorial teams must be top "
"notch. PLOS has to function as well as or better than other premier "
"journals, as researchers have a choice about where to publish."
msgstr ""
"Kostnadene til forretningsvirksomhet som følger med den åpne "
"tilgangsmodellen følger fortsatt i stor grad den eksisterende "
"publiseringsmodellen. PLOS tidsskrifter er bare på nettet, men det "
"redaksjonelle, fagfellevurdering, produksjon, layout, og publiseringsstadier "
"er de samme som for en tradisjonell utgiver. De redaksjonelle gruppene må "
"være av klasse. PLOS må fungere like godt, eller helst bedre enn andre "
"fremtredende tidsskrifter, slik at forskerne har et valg om hvor de vil "
"publisere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7589
msgid ""
"Researchers are influenced by journal rankings, which reflect the place of a "
"journal within its field, the relative difficulty of being published in that "
"journal, and the prestige associated with it. PLOS journals rank high, even "
"though they are relatively new."
msgstr ""
"Forskere er påvirket av rangeringer av tidsskrifter, som gjenspeiler "
"plasseringen til en journal på sitt fagfelt, den relative vanskeligheten med "
"å bli publisert i dette tidsskriftet, og prestisjen knyttet til det. PLOS "
"journaler rangerer høyt, selv om de er relativt nye."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7595
msgid ""
"The promotion and tenure of researchers are partially based how many times "
"other researchers cite their articles. Louise says when researchers want to "
"discover and read the work of others in their field, they go to an online "
"aggregator or search engine, and not typically to a particular journal. The "
"CC BY licensing of PLOS research articles ensures easy access for readers "
"and generates more discovery and citations for authors."
msgstr ""
"Hvordan forskere blir kjent, og det avtrykk de gir, baseres delvis på hvor "
"mange ganger andre forskere siterer deres artikler. Louise sier at når "
"forskere vil oppdage og lese andres arbeid innen eget felt, går de til en "
"oppsummerer (aggregator) eller en søkemotor, og vanligvis ikke til en "
"bestemt journal. CC BY-lisensiering av PLOSs forskningsartikler sikrer en "
"enkel tilgang for lesere, og genererer flere tilslag (funn) og sitater for "
"forfattere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7604
msgid ""
"Louise believes that open access has been a huge success, progressing from a "
"movement led by a small cadre of researchers to something that is now "
"widespread and used in some form by every journal publisher. PLOS has had a "
"big impact. In 2012 to 2014, they published more open-access articles than "
"BioMed Central, the original open-access publisher, or anyone else."
msgstr ""
"Louise mener at åpen tilgang har vært en stor suksess, til noe som har vokst "
"fra en bevegelse ledet av en liten kadre (kjerne) av forskere til noe som nå "
"er utbredt, og brukes i en eller annen form av enhver tidsskriftsutgiver. "
"PLOS har hatt en stor virkning. Fra 2012 til 2014 publiserte de flere "
"artikler enn BioMed Central, den opprinnelige åpen tilgangsutgiveren, eller "
"noen andre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7612
msgid ""
"PLOS further disrupted the traditional journal-publishing model by "
"pioneering the concept of a megajournal. The PLOS ONE megajournal, launched "
"in 2006, is an open-access peer-reviewed academic journal that is much "
"larger than a traditional journal, publishing thousands of articles per year "
"and benefiting from economies of scale. PLOS ONE has a broad scope, covering "
"science and medicine as well as social sciences and the humanities. The "
"review and editorial process is less subjective. Articles are accepted for "
"publication based on whether they are technically sound rather than "
"perceived importance or relevance. This is very important in the current "
"debate about the integrity and reproducibility of research because negative "
"or null results can then be published as well, which are generally rejected "
"by traditional journals. PLOS ONE, like all the PLOS journals, is online "
"only with no print version. PLOS passes on the financial savings accrued "
"through economies of scale to researchers and the public by lowering the "
"article-processing charges, which are below that of other journals. PLOS ONE "
"is the biggest journal in the world and has really set the bar for "
"publishing academic journal articles on a large scale. Other publishers see "
"the value of the PLOS ONE model and are now offering their own "
"multidisciplinary forums for publishing all sound science."
msgstr ""
"PLOS forstyrret ytterligere den tradisjonelle modellen for  "
"tidsskriftspublisering med det banebrytende konseptet med et megatidsskift. "
"Megatidsskriftet PLOS ONE, lansert i 2006, er et akademisk tidsskrift med "
"fagfellevurdering og åpen tilgang, som er mye større enn et tradisjonelt "
"tidsskrift, men publiserer tusenvis av artikler pr. år, og nyter godt av "
"stordriftsfordeler. PLOS ONE har et bredt omfang, dekker naturvitenskap og "
"medisin så vel som samfunnsvitenskap og humaniora. Gjennomgangen og den "
"redaksjonelle prosessen er mindre subjektiv. Artiklene er akseptert for "
"publisering basert på om de er teknisk gode i stedet for oppfattet viktighet "
"eller relevans. Dette er svært viktig i dagens debatt om integritet og "
"reproduserbarhet i forskningen fordi negative eller ikke-resultater nå også "
"kan publiseres, noe som generelt avvises av tradisjonelle tidsskrifter. PLOS "
"ONE er som alle PLOS-tidsskriftene bare på nettet, og ikke som trykksaker. "
"PLOS overfører besparelsene stordriftsfordelene gir  til forskere og "
"publikum ved å senke kostnadene til artikkelbehandlingen, som er lavere enn "
"for andre tidsskrifter. PLOS ONE er det største tidsskriftet i verden, og "
"har virkelig lagt listen for storskala-publisering av akademiske artikler. "
"Andre utgivere ser verdien av PLOS ONE-modellen, og tilbyr nå egne "
"tverrfaglige fora for å publisere all solid vitenskap."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7636
msgid ""
"Louise outlined some other aspects of the research-journal business model "
"PLOS is experimenting with, describing each as a kind of slider that could "
"be adjusted to change current practice."
msgstr ""
"Louise skisserte noen andre aspekter av forretningsmodellen for "
"forskningstidsskrifter som PLOS eksperimenterer med, der hun beskriver hver "
"som en slags skyvekontroll som kan justeres for å endre gjeldende praksis."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7641
msgid ""
"One slider is time to publication. Time to publication may shorten as "
"journals get better at providing quicker decisions to authors.  However, "
"there is always a trade-off with scale, as the bigger the volume of "
"articles, the more time the approval process inevitably takes."
msgstr ""
"En skyvekontroll gir tidspunktet for publisering. Tidspunktet for "
"publisering kan forkortes etter hvert som tidsskiftene blir flinkere til å "
"gi raskere beslutninger til forfattere. Men er det alltid en avveining mot "
"omfanget, jo større volum med artikler, jo mer tid vil godkjenningsprosessen "
"uunngåelig ta."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7648
msgid ""
"Peer review is another part of the process that could change. It’s possible "
"to redefine what peer review actually is, when to review, and what "
"constitutes the final article for publication. Louise talked about the "
"potential to shift to an open-review process, placing the emphasis on "
"transparency rather than double-blind reviews. Louise thinks we’re moving "
"into a direction where it’s actually beneficial for an author to know who is "
"reviewing their paper and for the reviewer to know their review will be "
"public. An open-review process can also ensure everyone gets credit; right "
"now, credit is limited to the publisher and author."
msgstr ""
"Fagfellevurdering er en annen del av prosessen som kan endres. Det er mulig "
"å redefinere hva fagfellevurdering egentlig er, når den skal skje, og hva "
"som utgjør den endelige artikkelen for publisering. Louise snakket om "
"potensialet for å skifte til en åpen vurderingsprosess, som legger vekt på "
"åpenhet i stedet for dobbeltblinde vurderinger. Louise mener vi beveger oss "
"inn i en retning der det egentlig er fordelaktig for en forfatter å kjenne "
"til hvem som gjennomgår artikkelen deres, og for den som gjennomgår å vite "
"at deres vurdering vil være offentlig. En åpen vurderingsprosess kan også "
"sikre at alle får anerkjennelse; akkurat nå er anerkjennelsen begrenset til "
"utgiver og forfatter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7660
msgid ""
"Louise says research with negative outcomes is almost as important as "
"positive results. If journals published more research with negative "
"outcomes, we’d learn from what didn’t work. It could also reduce how much "
"the research wheel gets reinvented around the world."
msgstr ""
"Louise sier at forskning med negative resultater er nesten like viktige som "
"positive resultater. Hvis tidsskrifter publiserte mer forskning med negative "
"resultater, ville vi lære hva som ikke fungerte. Det kan også redusere hvor "
"mye av forskningshjulet som blir gjenoppfunnet rundt om i verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7667
msgid ""
"Another adjustable practice is the sharing of articles at early preprint "
"stages. Publication of research in a peer-reviewed journal can take a long "
"time because articles must undergo extensive peer review. The need to "
"quickly circulate current results within a scientific community has led to a "
"practice of distributing pre-print documents that have not yet undergone "
"peer review. Preprints broaden the peer-review process, allowing authors to "
"receive early feedback from a wide group of peers, which can help revise and "
"prepare the article for submission.  Offsetting the advantages of preprints "
"are author concerns over ensuring their primacy of being first to come up "
"with findings based on their research. Other researches may see findings the "
"preprint author has not yet thought of. However, preprints help researchers "
"get their discoveries out early and establish precedence. A big challenge is "
"that researchers don’t have a lot of time to comment on preprints."
msgstr ""
"En annen justerbar praksis er å dele artikler i en tidlig utkastfase. "
"Publisering av forskning i et tidsskrift kan ta lang tid fordi artikler må "
"gjennomgå en omfattende fagfellevurdering. Behovet for å raskt sirkulere "
"aktuelle resultater i et vitenskapelig samfunn har ført til en praksis med å "
"distribuere forhåndsutkast av dokumenter som ennå ikke har gjennomgått "
"fagfellevurdering. Dokumentutkast utvider prosessen med fagfellevurdering, "
"slik at forfatterne mottar en tidlig tilbakemelding fra en bred gruppe av "
"kolleger som kan hjelpe med å revidere og forberede artikkelen før den "
"leveres inn.  Å sette til side fordelene med dokumentutkast er "
"forfatterbekymringer for ikke å komme først med å legge frem resultater fra "
"sin egen forskning. Andre forskere kan se funn som  forfatteren av "
"dokumentutkastet ennå ikke har tenkt på. Imidlertid vil dokumentutkast "
"hjelpe forskere med å få ut sine funn tidlig og etablere forrang. En stor "
"utfordring er at forskerne ikke har mye tid til å kommentere dokumentutkast."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7685
msgid ""
"What constitutes a journal article could also change. The idea of a research "
"article as printed, bound, and in a library stack is outdated. Digital and "
"online open up new possibilities, such as a living document evolving over "
"time, inclusion of audio and video, and interactivity, like discussion and "
"recommendations. Even the size of what gets published could change. With "
"these changes the current form factor for what constitutes a research "
"article would undergo transformation."
msgstr ""
"Hva som utgjør et tidsskrift kan også endres. Ideen om en vitenskapelig "
"artikkel som skrevet ut, innbundet, og i en bibliotekstabel, er utdatert. Å "
"være digital og på nettet åpner opp for nye muligheter, for eksempel et "
"levende dokument som utvikler seg over tid, inkludering av lyd og video og "
"interaktivitet, som diskusjon og anbefalinger. Selv størrelsen på hva som "
"blir publisert kan endres. Med disse forandringene vil den gjeldende "
"formfaktoren for hva som utgjør en vitenskapelig artikkel også gjennomgå "
"endringer."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7699
msgid "<ulink url=\"http://collections.plos.org\"/>"
msgstr "<ulink url=\"http://collections.plos.org\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7703
msgid "<ulink url=\"http://plos.org/article-level-metrics\"/>"
msgstr "<ulink url=\"http://plos.org/article-level-metrics\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7695
msgid ""
"As journals scale up, and new journals are introduced, more and more "
"information is being pushed out to readers, making the experience feel like "
"drinking from a fire hose. To help mitigate this, PLOS aggregates and "
"curates content from PLOS journals and their network of blogs.<placeholder "
"type=\"footnote\" id=\"0\"/> It also offers something called Article-Level "
"Metrics, which helps users assess research most relevant to the field "
"itself, based on indicators like usage, citations, social bookmarking and "
"dissemination activity, media and blog coverage, discussions, and ratings."
"<placeholder type=\"footnote\" id=\"1\"/> Louise believes that the journal "
"model could evolve to provide a more friendly and interactive user "
"experience, including a way for readers to communicate with authors."
msgstr ""
"Etterhvert som tidsskifter skaleres opp og nye tidsskifter kommer, skyves "
"mer og mer informasjon ut til leserne, noe som gir opplevelsen å føle at man "
"drikker fra en brannslange. For å begrense dette, aggregerer og "
"tilrettelegger PLOS innhold fra PLOS sine tidsskifter og sitt nettverk av "
"blogger.<placeholder type=\"footnote\" id=\"0\"/> De tilbyr også Article-"
"Level Metrics, som hjelper brukere med å vurdere hvilken forskning som er "
"mest relevant for selve feltet, basert på ulike indikatorer die bruk, "
"sitater, sosiale bokmerker og formidlingsaktivitet, omtale i media og "
"blogger, diskusjoner og rangeringer.<placeholder type=\"footnote\" id=\"1\"/"
"> Louise mener at tidskriftsmodellen kan utvikle seg til å gi en mer "
"brukervennlig og interaktiv brukeropplevelse, inkludert en måte for leserne "
"å kommunisere med forfattere på."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7708
msgid ""
"The big picture for PLOS going forward is to combine and adjust these "
"experimental practices in ways that continue to improve accessibility and "
"dissemination of research, while ensuring its integrity and reliability. The "
"ways they interlink are complex.  The process of change and adjustment is "
"not linear. PLOS sees itself as a very flexible publisher interested in "
"exploring all the permutations research-publishing can take, with authors "
"and readers who are open to experimentation."
msgstr ""
"Det store bildet for PLOS fremover er å kombinere og justere disse "
"eksperimentelle praksiser på måter som fortsetter å forbedre tilgjengelighet "
"og formidling av forskning, samtidig som integritet og pålitelighet sikres. "
"Måtene dette henger sammen på er komplekst. Prosessen med å endre og justere "
"er ikke lineær. PLOS ser seg selv som en svært fleksibel utgiver som er "
"interessert i å utforske alle omordninger som forskningspublisering kan gi, "
"sammen med forfattere og lesere som er åpne for eksperimentering."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7718
msgid ""
"For PLOS, success is not about revenue. Success is about proving that "
"scientific research can be communicated rapidly and economically at scale, "
"for the benefit of researchers and society.  The CC BY license makes it "
"possible for PLOS to publish in a way that is unfettered, open, and fast, "
"while ensuring that the authors get credit for their work. More than two "
"million scientists, scholars, and clinicians visit PLOS every month, with "
"more than 135,000 quality articles to peruse for free."
msgstr ""
"For PLOS handler  suksess ikke om overskudd. Suksess er å bevise at "
"forskning kan kommuniseres raskt og i økonomisk skala, til fordel for "
"forskere og samfunn.  CC BY-lisensen gjør det mulig for PLOS å publisere på "
"en måte som er ubundet, åpen og rask, samtidig som man sikrer at forfatterne "
"får anerkjennelse for sitt arbeid. Mer enn to millioner forskere, "
"akademikere og klinikere besøker PLOS hver måned, der mer enn 135 000 "
"kvalitetsartikler kan leses gratis."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7728
msgid ""
"Ultimately, for PLOS, its authors, and its readers, success is about making "
"research discoverable, available, and reproducible for the advancement of "
"science."
msgstr ""
"Til slutt, for PLOS, forfatterne og leserne, er suksessen å gjøre forskning "
"overskuelig, tilgjengelig og reproduserbar, til fremme av vitenskap."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7734
msgid "Rijksmuseum"
msgstr "Rijksmuseum"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7737
msgid ""
"The Rijksmuseum is a Dutch national museum dedicated to art and history. "
"Founded in 1800 in the Netherlands"
msgstr ""
"Rijksmuseum er det nederlandske nasjonale museum for kunst og historie. "
"Grunnlagt i 1800 i Nederland"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7741
msgid "<ulink url=\"http://www.rijksmuseum.nl\"/>"
msgstr "<ulink url=\"http://www.rijksmuseum.nl\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7743
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grants and government "
"funding, charging for in-person version (museum admission), selling "
"merchandise"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Donasjoner og statlig "
"finansiering, betaling for personlig versjon (museumsadgang), og varesalg"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7747
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 11, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 11. desember 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7750
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Lizzy Jongma, the data "
"manager of the collections information department"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Lizzy Jongma, datasjef for "
"innsamlingsinformasjonen"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7758
msgid ""
"The Rijksmuseum, a national museum in the Netherlands dedicated to art and "
"history, has been housed in its current building since 1885. The monumental "
"building enjoyed more than 125 years of intensive use before needing a "
"thorough overhaul. In 2003, the museum was closed for renovations. Asbestos "
"was found in the roof, and although the museum was scheduled to be closed "
"for only three to four years, renovations ended up taking ten years. During "
"this time, the collection was moved to a different part of Amsterdam, which "
"created a physical distance with the curators. Out of necessity, they "
"started digitally photographing the collection and creating metadata "
"(information about each object to put into a database). With the renovations "
"going on for so long, the museum became largely forgotten by the public. Out "
"of these circumstances emerged a new and more open model for the museum."
msgstr ""
"Rijksmuseum, Nederlands nasjonalmuseum for kunst og historie, har vært "
"plassert i sin nåværende bygning siden 1885. Den monumentale bygningen fikk "
"mer enn 125 års intensiv bruk før den trengte en grundig oppussing. I 2003 "
"var museet stengt for oppussing. Asbest ble funnet i taket, og selv om "
"museet var planlagt å være stengt i bare tre til fire år, tok renoveringen "
"ti år. Samtidig ble samlingen flyttet til en annen del av Amsterdam, som ga "
"en fysisk avstand til kuratorene. Av nødvendighet begynte de å digitalt "
"fotografere samlingen og lage metadata (informasjon om hvert objekt til å "
"sette inn en database). Når renoveringen pågikk så lenge, ble museet i stor "
"grad glemt av publikum. Fra disse omstendighetene dukket det opp en ny og "
"mer åpen modell for museet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7774
msgid ""
"By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager, "
"staff were fed up with the situation the museum was in.  They also realized "
"that even with the new and larger space, it still wouldn’t be able to show "
"very much of the whole collection—eight thousand of over one million works "
"representing just 1 percent. Staff began exploring ways to express "
"themselves, to have something to show for all of the work they had been "
"doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there "
"a way for the museum provide benefit to the public while it was closed? They "
"began thinking about sharing Rijksmuseum’s collection using information "
"technology. And they put up a card-catalog like database of the entire "
"collection online."
msgstr ""
"Da Lizzy Jongma begynte i Rijksmuseum i 2011 som dataansvarlig, var "
"personalet lei av situasjonen de var i. De innså også selv at med den nye og "
"større plassen, ville det fortsatt ikke være mulig å vise mye av hele "
"samlingen – med åtte tusen av over en million – representerte det 1 prosent. "
"Personalet begynte å utforske måter å uttrykke seg på, å ha noe å vise for "
"alt arbeidet de hadde utført.  Rijksmuseum er hovedsakelig finansiert av "
"nederlandske skattebetalere, så var det en måte for museet å gi fordelen "
"tilbake til publikum mens det var lukket? De begynte å tenke på å dele "
"Rijksmuseums samling med bruk av informasjonsteknologi. Og de satte opp en "
"kortkatalog som database over hele samlingen på nettet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7788
msgid ""
"It was effective but a bit boring. It was just data. A hackathon they were "
"invited to got them to start talking about events like that as having "
"potential. They liked the idea of inviting people to do cool stuff with "
"their collection. What about giving online access to digital representations "
"of the one hundred most important pieces in the Rijksmuseum collection? That "
"eventually led to why not put the whole collection online?"
msgstr ""
"Det var effektivt men litt kjedelig. Det var bare data. En hackersamling de "
"ble invitert til, fikk dem til å begynne å snakke om hendelser som dette som "
"om det hadde potensiale. De likte ideen å invitere folk til å gjøre kule "
"ting med sin samling. Hva med å gi tilgang til digitale representasjoner av "
"de hundre viktigste gjenstandene i Rijksmuseums samlinger?  Det førte til "
"slutt til at: Hvorfor ikke legge hele samlingen ut på nettet?"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7799
msgid "<ulink url=\"http://www.europeana.eu/portal/en\"/>"
msgstr "<ulink url=\"http://www.europeana.eu/portal/en\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7797
msgid ""
"Then, Lizzy says, Europeana came along. Europeana is Europe’s digital "
"library, museum, and archive for cultural heritage.<placeholder type="
"\"footnote\" id=\"0\"/> As an online portal to museum collections all across "
"Europe, Europeana had become an important online platform. In October 2010 "
"Creative Commons released CC0 and its public-domain mark as tools people "
"could use to identify works as free of known copyright. Europeana was the "
"first major adopter, using CC0 to release metadata about their collection "
"and the public domain mark for millions of digital works in their "
"collection. Lizzy says the Rijksmuseum initially found this change in "
"business practice a bit scary, but at the same time it stimulated even more "
"discussion on whether the Rijksmuseum should follow suit."
msgstr ""
"Deretter sier Lizzy, Europeana kom. Europeana er Europas digitale bibliotek, "
"museum og arkiv for kulturarv.<placeholder type=\"footnote\" id=\"0\"/> Som "
"en nettportal til museumsamlinger over hele Europa, hadde Europeana blitt en "
"viktig nettplattform. I oktober 2010 utga Creative Commons CC0 og dets "
"offentlige domenemerke som verktøy folk kan bruke som gratis, fri for kjente "
"opphavsrettigheter. Europeana var den første store brukeren av CC0 til å gi "
"metadata om sin innsamling, og det offentlige merket for millioner av "
"digitale verk i samlingen sin. Lizzy sier Rijksmuseum i utgangspunktet fant "
"denne endringen i praksis litt skummel, men samtidig stimulerte det til enda "
"mer diskusjon om hvorvidt Rijksmuseum skal følge etter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7811
#, fuzzy
#| msgid ""
#| "They realized that they don’t “own” the collection and couldn’t "
#| "realistically monitor and enforce compliance with the restrictive "
#| "licensing terms they currently had in place. For example, many copies and "
#| "versions of Vermeer’s Milkmaid (part of their collection) were already "
#| "online, many of them of very poor quality. They could spend time and "
#| "money policing its use, but it would probably be futile and wouldn’t make "
#| "people stop using their images online. They ended up thinking it’s an "
#| "utter waste of time to hunt down people who use the Rijksmuseum "
#| "collection. And anyway, restricting access meant the people they were "
#| "frustrating the most were schoolkids."
msgid ""
"They realized that they don’t <quote>own</quote> the collection and couldn’t "
"realistically monitor and enforce compliance with the restrictive licensing "
"terms they currently had in place. For example, many copies and versions of "
"Vermeer’s Milkmaid (part of their collection) were already online, many of "
"them of very poor quality. They could spend time and money policing its use, "
"but it would probably be futile and wouldn’t make people stop using their "
"images online. They ended up thinking it’s an utter waste of time to hunt "
"down people who use the Rijksmuseum collection. And anyway, restricting "
"access meant the people they were frustrating the most were schoolkids."
msgstr ""
"De forsto at de ikke <quote>eier</quote> samlingen, og ikke kunne realistisk "
"overvåke og håndheve samsvar med de restriktive lisensvilkårene de for tiden "
"benyttet. For eksempel var mange kopier og versjoner av Vermeers Het "
"Melkmeisje (i sin samling) var allerede på nettet, mange av dem med svært "
"dårlig kvalitet. De kunne tilbringe tid og penger på å passe på bruken, men "
"det ville  trolig være nytteløst, og ville ikke få folk til å slutte å bruke "
"bildene deres på nettet. De endte opp med å tenke at det var fullstendig "
"bortkastet tid å jakte på mennesker som brukte Rijksmuseums samling. Og "
"uansett, å begrense tilgangen betød at de som kom til å bli mest frustrert, "
"var for det meste skolebarn."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7824
msgid ""
"In 2011 the Rijksmuseum began making their digital photos of works known to "
"be free of copyright available online, using Creative Commons CC0 to place "
"works in the public domain. A medium-resolution image was offered for free, "
"but a high-resolution version cost forty euros. People started paying, but "
"Lizzy says getting the money was frequently a nightmare, especially from "
"overseas customers. The administrative costs often offset revenue, and "
"income above costs was relatively low. In addition, having to pay for an "
"image of a work in the public domain from a collection owned by the Dutch "
"government (i.e., paid for by the public) was contentious and frustrating "
"for some. Lizzy says they had lots of fierce debates about what to do."
msgstr ""
"I 2011 begynte Rijksmuseum å lage digitale bilder av verk kjent for å være "
"uten opphavsrettigheter tilgjengelig på nettet ved å bruke Creative Commons "
"CC0 til å plassere verkene i den offentlige sfæren. Et bilde med middels "
"oppløsning ble tilbudt gratis, mens en høyoppløselig versjon kostet 40 euro. "
"Folk begynte å betale, men Lizzy sier at å få inn pengene var ofte et "
"mareritt, spesielt fra utenlandske kunder. De administrative kostnadene "
"oppveide ofte inntektene, og inntekten etter at kostnader var trukket fra, "
"var relativt lav. I tillegg, å måtte betale for et bilde av et arbeid i det "
"offentlige domenet fra en samling eid av den nederlandske regjeringen (dvs, "
"betalt av publikum),  var omstridt og frustrerende for noen. Lizzy sier de "
"hadde mange heftige debatter om hva de skulle gjøre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7838
msgid ""
"In 2013 the Rijksmuseum changed its business model. They Creative Commons "
"licensed their highest-quality images and released them online for free. "
"Digitization still cost money, however; they decided to define discrete "
"digitization projects and find sponsors willing to fund each project. This "
"turned out to be a successful strategy, generating high interest from "
"sponsors and lower administrative effort for the Rijksmuseum. They started "
"out making 150,000 high-quality images of their collection available, with "
"the goal to eventually have the entire collection online."
msgstr ""
"I 2013 endret Rijksmuseum sin forretningsmodell. De ga Creative Commons "
"lisenser til sine bilder med høy kvalitet, og la dem ut på nettet gratis. "
"Digitalisering koster fortsatt penger. Imidlertid bestemte de seg for å "
"avgrense separate digitaliseringsprosjekter, og finne sponsorer villig til å "
"finansiere hvert prosjekt. Dette viste seg for å være en vellykket strategi, "
"genererte stor interesse fra sponsorer, og mindre administrativt arbeidefor "
"Rijksmuseum. De startet med å gjøre 150 000 høykvalitetsbilder fra samlingen "
"sin tilgjengelig, med det mål å få hele samlingen på nettet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7849
#, fuzzy
#| msgid ""
#| "Releasing these high-quality images for free reduced the number of poor-"
#| "quality images that were proliferating. The high-quality image of "
#| "Vermeer’s Milkmaid, for example, is downloaded two to three thousand "
#| "times a month. On the Internet, images from a source like the Rijksmuseum "
#| "are more trusted, and releasing them with a Creative Commons CC0 means "
#| "they can easily be found in other platforms. For example, Rijksmuseum "
#| "images are now used in thousands of Wikipedia articles, receiving ten to "
#| "eleven million views per month. This extends Rijksmuseum’s reach far "
#| "beyond the scope of its website. Sharing these images online creates what "
#| "Lizzy calls the “Mona Lisa effect,” where a work of art becomes so famous "
#| "that people want to see it in real life by visiting the actual museum."
msgid ""
"Releasing these high-quality images for free reduced the number of poor-"
"quality images that were proliferating. The high-quality image of Vermeer’s "
"Milkmaid, for example, is downloaded two to three thousand times a month. On "
"the Internet, images from a source like the Rijksmuseum are more trusted, "
"and releasing them with a Creative Commons CC0 means they can easily be "
"found in other platforms. For example, Rijksmuseum images are now used in "
"thousands of Wikipedia articles, receiving ten to eleven million views per "
"month. This extends Rijksmuseum’s reach far beyond the scope of its website. "
"Sharing these images online creates what Lizzy calls the <quote>Mona Lisa "
"effect,</quote> where a work of art becomes so famous that people want to "
"see it in real life by visiting the actual museum."
msgstr ""
"Å legge ut disse høykvalitetsbildene gratis, reduserte den sterkt voksende "
"spredningen av bilder med dårlig kvalitet. For eksempel blir "
"høykvalitetsbildet av Vermeers Melkmeisje lastet ned to til tre tusen ganger "
"i måneden. På Internett blir bilder fra en kilde som Rijksmuseum sett på som "
"mer pålitelige, og å benytte Creative Commons-CC0 betyr at de lett kan kan "
"finnes på andre plattformer. For eksempel brukes nå Rijksmuseums bilder i "
"tusenvis av Wikipedia-artikler, og får ti til elleve millioner sidevisninger "
"pr. måned. Dette utvider Rijksmuseums rekkevidde langt utover det som nås "
"fra deres egen hjemmeside. Deling av disse bildene på nettet lager det Lizzy "
"kaller <quote>Mona Lisa-effekten</quote>, hvor et kunstverk blir så kjent, "
"at folk ønsker å se det i det virkelige liv ved å besøke det aktuelle museet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7864
msgid ""
"Every museum tends to be driven by the number of physical visitors. The "
"Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of "
"its operating budget from the government.  But like many museums, it must "
"generate the rest of the funding through other means. The admission fee has "
"long been a way to generate revenue generation, including for the "
"Rijksmuseum."
msgstr ""
"Hvert museum har en tendens til å bli drevet av antallet fysiske besøkende. "
"Rijksmuseum er primært offentlig finansiert, og mottar omtrent 70 prosent av "
"sitt driftsbudsjett fra staten. Men som mange museer, må det skaffe resten "
"av finansieringen på andre måter. Adgangspenger har lenge vært en måte å få "
"inntekter på, blant annet for Rijksmuseum."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7872
msgid ""
"As museums create a digital presence for themselves and put up digital "
"representations of their collection online, there’s frequently a worry that "
"it will lead to a drop in actual physical visits. For the Rijksmuseum, this "
"has not turned out to be the case. Lizzy told us the Rijksmuseum used to get "
"about one million visitors a year before closing and now gets more than two "
"million a year. Making the collection available online has generated "
"publicity and acts as a form of marketing. The Creative Commons mark "
"encourages reuse as well. When the image is found on protest leaflets, milk "
"cartons, and children’s toys, people also see what museum the image comes "
"from and this increases the museum’s visibility."
msgstr ""
"Når museer skaper en egen digital tilstedeværelse, og legger ut digitale "
"avbildninger av sine samlinger på nettet, er det ofte en bekymring at det "
"vil føre til en nedgang i antallet fysiske besøk. For Rijksmuseum har dette "
"ikke vært tilfellet. Lizzy fortalte at Rijksmuseum pleide få om lag 1 "
"million besøkende i året før lukkingen, og har nå mer enn to millioner i "
"året. Å gjøre samlingen tilgjengelig på nettet har generert publisitet, og "
"fungerer som en form for markedsføring. Creative Commons-merket oppfordrer "
"til gjenbruk også. Når bildet finnes i protestbrosjyrer, melkekartonger og "
"barneleker, ser folk også hvor museumsbildet kommer fra, og dette øker "
"museets synlighet."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7892
msgid "<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio\"/>"
msgstr "<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7886
msgid ""
"In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create "
"a new web presence that would be different from any other museum’s. In "
"addition to redesigning their main website to be mobile friendly and "
"responsive to devices like the iPad, the Rijksmuseum also created the "
"Rijksstudio, where users and artists could use and do various things with "
"the Rijksmuseum collection.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"I 2011 fikk Rijksmuseum 1 million euro fra det nederlandsk lotteriet til å "
"opprette en ny tilstedeværelse på nettet som ville være forskjellig fra alle "
"andre museers. I tillegg til omstruktureringen av deres viktigste nettsted "
"til å være mobilvennlig og knyttet opp mot enheter som iPad, har Rijksmuseum "
"også laget Rijksstudio, hvor brukere og kunstnere kan bruke og gjøre "
"forskjellige ting med Rijksmuseums samling.<placeholder type=\"footnote\" id="
"\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7895
#, fuzzy
#| msgid ""
#| "The Rijksstudio gives users access to over two hundred thousand high-"
#| "quality digital representations of masterworks from the collection. Users "
#| "can zoom in to any work and even clip small parts of images they like. "
#| "Rijksstudio is a bit like Pinterest.  You can “like” works and compile "
#| "your personal favorites, and you can share them with friends or download "
#| "them free of charge. All the images in the Rijksstudio are copyright and "
#| "royalty free, and users are encouraged to use them as they like, for "
#| "private or even commercial purposes."
msgid ""
"The Rijksstudio gives users access to over two hundred thousand high-quality "
"digital representations of masterworks from the collection. Users can zoom "
"in to any work and even clip small parts of images they like. Rijksstudio is "
"a bit like Pinterest.  You can <quote>like</quote> works and compile your "
"personal favorites, and you can share them with friends or download them "
"free of charge. All the images in the Rijksstudio are copyright and royalty "
"free, and users are encouraged to use them as they like, for private or even "
"commercial purposes."
msgstr ""
"Rijksstudio gir brukere tilgang til over to hundretusen høykvalitets "
"digitale gjengivelser av mesterverk fra samlingen. Brukere kan zoome inn i "
"alle verkene, og selv klippe små deler av bilder de liker. Rijksstudio er "
"litt som Pinterest.  Du kan <quote>like</quote> verker og sette sammen dine "
"personlige favoritter, og du kan dele dem med venner, eller laste dem ned "
"gratis. Alle bildene i Rijksstudio er fri fra opphavsrett og royalty, og "
"brukere oppfordres til å bruke dem som de liker, for private eller til og "
"med kommersielle formål."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7906
msgid ""
"Users have created over 276,000 Rijksstudios, generating their own themed "
"virtual exhibitions on a wide variety of topics ranging from tapestries to "
"ugly babies and birds. Sets of images have also been created for educational "
"purposes including use for school exams."
msgstr ""
"Brukere har laget over 276 000 Rijksstudios, generert sine egne spesifikke "
"virtuelle utstillinger om en rekke emner fra billedvev til stygge babyer og "
"fugler. Settene med bilder er også laget for pedagogiske formål, medregnet "
"for bruk ved skoleeksamen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7913
msgid ""
"Some contemporary artists who have works in the Rijksmuseum collection "
"contacted them to ask why their works were not included in the Rijksstudio. "
"The answer was that contemporary artists’ works are still bound by "
"copyright. The Rijksmuseum does encourage contemporary artists to use a "
"Creative Commons license for their works, usually a CC BY-SA license "
"(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they "
"want to preclude commercial use. That way, their works can be made available "
"to the public, but within limits the artists have specified."
msgstr ""
"Noen moderne kunstnere som har verk i samlingen Rijksmuseum, har kontaktet "
"dem for å spørre hvorfor deres verk ikke var inkludert i Rijksstudio. Svaret "
"var at moderne kunstneres arbeider fortsatt er bundet av opphavsrett. "
"Rijksmuseum oppfordrer moderne kunstnere til å bruke en Creative Commons-"
"lisens for sine arbeider, vanligvis en CC BY-SA-lisens (Attribution-"
"ShareAlike) eller en CC BY-NC (Attribution-NonCommercial) hvis de ønsker å "
"utelukke kommersiell bruk. På den måten kan verkene deres gjøres "
"tilgjengelig for publikum, men innenfor de grensene kunstnerne har angitt."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7933
msgid ""
"<ulink url=\"http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-"
"kimono-kimono-robe\"/>"
msgstr ""
"<ulink url=\"http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-"
"kimono-kimono-robe\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7924
msgid ""
"The Rijksmuseum believes that art stimulates entrepreneurial activity. The "
"line between creative and commercial can be blurry.  As Lizzy says, even "
"Rembrandt was commercial, making his livelihood from selling his paintings. "
"The Rijksmuseum encourages entrepreneurial commercial use of the images in "
"Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy to "
"inspire people to sell their creations. One great example you can find on "
"Etsy is a kimono designed by Angie Johnson, who used an image of an "
"elaborate cabinet along with an oil painting by Jan Asselijn called The "
"Threatened Swan.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Rijksmuseum mener at kunst stimulerer gründeraktivitet. Linjen mellom det "
"kreative og det kommersielle kan være uklar. Som Lizzy sier, selv Rembrandt "
"var kommersiell, og fikk sitt levebrød fra salg av egne malerier. "
"Rijksmuseum oppfordrer gründere til kommersiell bruk av bildene i "
"Rijksstudio. De samarbeider også med DIY-markedet Etsy (DIY - Do It "
"Yourself) for å inspirere folk til å selge sine kreasjoner. Et markant "
"eksempel som du finner på Etsy er en kimono designet av Angie Johnson, som "
"brukte et bilde av et forseggjort kabinett sammen med et oljemaleri av Jan "
"Asselijn kalt Den truede svanen (The Threatened Swan).<placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7937
msgid ""
"<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award\"/>; the 2014 "
"award: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award-2014\"/>; "
"the 2015 award: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-"
"award-2015\"/>"
msgstr ""
"<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award\"/>; 2014-"
"prisen: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award-2014\"/"
">; 2015-prisen: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-"
"award-2015\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7949
msgid ""
"<ulink url=\"http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-"
"rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4\"/>"
msgstr ""
"<ulink url=\"http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-"
"rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7936
msgid ""
"In 2013 the Rijksmuseum organized their first high-profile design "
"competition, known as the Rijksstudio Award.<placeholder type=\"footnote\" "
"id=\"0\"/> With the call to action Make Your Own Masterpiece, the "
"competition invites the public to use Rijksstudio images to make new "
"creative designs. A jury of renowned designers and curators selects ten "
"finalists and three winners. The final award comes with a prize of €10,000. "
"The second edition in 2015 attracted a staggering 892 top-class entries. "
"Some award winners end up with their work sold through the Rijksmuseum "
"store, such as the 2014 entry featuring makeup based on a specific color "
"scheme of a work of art.<placeholder type=\"footnote\" id=\"1\"/> The "
"Rijksmuseum has been thrilled with the results.  Entries range from the fun "
"to the weird to the inspirational. The third international edition of the "
"Rijksstudio Award started in September 2016."
msgstr ""
"I 2013 organiserte Rijksmuseum sin første høyprofilerte designkonkurranse, "
"kjent som Rijksstudio-prisen.<placeholder type=\"footnote\" id=\"0\"/> Med "
"oppfordringen Make Your Own Masterpiece, inviterte konkurransen publikum til "
"å bruke Rijksstudios bilder til å lage nye kreative design. En jury av "
"kjente designere og medarbeidere ved museet valgte ut ti finalister og tre "
"vinnere. Den endelige belønningen var en premie på 10 000 euro. Den andre "
"konkurransen i 2015 tiltrakk seg svimlende 892 førsteklasses bidrag. Noen "
"prisvinnere endte opp med å få sitt  arbeid solgt gjennom Rijksmuseum-"
"butikken, som 2014-bidraget med sminke basert på et bestemt fargevalg fra et "
"kunstverk.<placeholder type=\"footnote\" id=\"1\"/> Rijksmuseum har vært "
"begeistret for resultatene. Bidragene spenner fra det morsomme til det "
"merkelige til det inspirerende. Den tredje internasjonale konkurransen om "
"Rijksstudio-prisen startet i September 2016."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7955
msgid ""
"For the next iteration of the Rijksstudio, the Rijksmuseum is considering an "
"upload tool, for people to upload their own works of art, and enhanced "
"social elements so users can interact with each other more."
msgstr ""
"For den neste versjonen av Rijksstudio, vurderer Rijksmuseum et "
"opplastingsverktøy der folk kan laste opp sine egne kunstverk, og utvidete "
"sosiale elementer der brukere kan samarbeide mer med hverandre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7961
msgid ""
"Going with a more open business model generated lots of publicity for the "
"Rijksmuseum. They were one of the first museums to open up their collection "
"(that is, give free access) with high-quality images. This strategy, along "
"with the many improvements to the Rijksmuseum’s website, dramatically "
"increased visits to their website from thirty-five thousand visits per month "
"to three hundred thousand."
msgstr ""
"En mer åpen forretningsmodell genererte mye publisitet for Rijksmuseum. De "
"var et av de første museene til å åpne sin samling (det vil si gi gratis "
"tilgang) med bilder av høy kvalitet. Denne strategien, sammen med mange "
"forbedringer på Rijksmuseums nettsted, økte dramatisk besøket fra "
"trettifemtusen pr. måned til trehundretusen besøk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7970
msgid ""
"The Rijksmuseum has been experimenting with other ways to invite the public "
"to look at and interact with their collection. On an international day "
"celebrating animals, they ran a successful bird-themed event. The museum put "
"together a showing of two thousand works that featured birds and invited "
"bird-watchers to identify the birds depicted. Lizzy notes that while museum "
"curators know a lot about the works in their collections, they may not know "
"about certain details in the paintings such as bird species. Over eight "
"hundred different birds were identified, including a specific species of "
"crane bird that was unknown to the scientific community at the time of the "
"painting."
msgstr ""
"Rijksmuseum har eksperimentert med andre måter å invitere publikum til å se "
"og samhandle med samlingen. På dyrenes internasjonale dag gjennomførte de et "
"vellykket fugletema-arrangement. Museet satt sammen en visning som omfattet "
"to tusen arbeider som viste fugler, og inviterte fuglekikkere til å "
"identifisere avbildede fugler. Lizzy bemerker at mens museumskuratorer vet "
"mye om verkene i samlingene, kan de ikke vite om visse detaljer i maleriene, "
"som fuglearter. Over åtte hundre forskjellige fugler ble identifisert, "
"inkludert en bestemt traneart som var ukjent for det vitenskapelige "
"samfunnet på det tidspunktet maleriet ble laget."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7983
#, fuzzy
#| msgid ""
#| "For the Rijksmuseum, adopting an open business model was scary.  They "
#| "came up with many worst-case scenarios, imagining all kinds of awful "
#| "things people might do with the museum’s works. But Lizzy says those "
#| "fears did not come true because “ninety-nine percent of people have "
#| "respect for great art.” Many museums think they can make a lot of money "
#| "by selling things related to their collection.  But in Lizzy’s "
#| "experience, museums are usually bad at selling things, and sometimes "
#| "efforts to generate a small amount of money block something much bigger—"
#| "the real value that the collection has. For Lizzy, clinging to small "
#| "amounts of revenue is being penny-wise but pound-foolish. For the "
#| "Rijksmuseum, a key lesson has been to never lose sight of its vision for "
#| "the collection.  Allowing access to and use of their collection has "
#| "generated great promotional value—far more than the previous practice of "
#| "charging fees for access and use. Lizzy sums up their experience: “Give "
#| "away; get something in return. Generosity makes people happy to join you "
#| "and help out.”"
msgid ""
"For the Rijksmuseum, adopting an open business model was scary.  They came "
"up with many worst-case scenarios, imagining all kinds of awful things "
"people might do with the museum’s works. But Lizzy says those fears did not "
"come true because <quote>ninety-nine percent of people have respect for "
"great art.</quote> Many museums think they can make a lot of money by "
"selling things related to their collection. But in Lizzy’s experience, "
"museums are usually bad at selling things, and sometimes efforts to generate "
"a small amount of money block something much bigger—the real value that the "
"collection has. For Lizzy, clinging to small amounts of revenue is being "
"penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to "
"never lose sight of its vision for the collection. Allowing access to and "
"use of their collection has generated great promotional value—far more than "
"the previous practice of charging fees for access and use. Lizzy sums up "
"their experience: <quote>Give away; get something in return.  Generosity "
"makes people happy to join you and help out.</quote>"
msgstr ""
"For Rijksmuseum var å vedta en åpen forretningsmodell skremmende. De kom opp "
"med mange i verste tilfelle, og forestilte seg alle typer av forferdelige "
"ting folk kan gjøre med museets verker. Men Lizzy sier at denne fykten ikke "
"ble noen realitet fordi \"nittini prosent av mennesker har respekt for stor "
"kunst.\" Mange museer tror de kan gjøre mye penger ved å selge ting knyttet "
"til samlingen sin.  Men i Lizzys erfaring er at museer vanligvis er dårlig "
"på selge ting, og noen ganger blokkerer innsatsen for å generere en liten "
"mengde penger for noe mye større - den virkelige verdien  samlingen har. For "
"Lizzy er å klamre seg til små inntekter nyttig for å tjene ører, men ikke "
"for kroner. Rijksmuseum har det vært en viktig lærdom å aldri miste av syne "
"sin visjon for samlingen. Å tillater tilgang og bruk har generert en stor "
"salgsfremmende verdi - langt mer enn den tidligere praksisen å kreve "
"betaling for tilgang og bruk. Lizzy oppsummerer sine erfaringer: \"Gi bort "
"og få noe i retur. Gavmildhet gjør at folk gjerne blir med og hjelper til.\""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8003
msgid "Shareable"
msgstr "Shareable"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8006
msgid ""
"Shareable is an online magazine about sharing. Founded in 2009 in the U.S."
msgstr "Shareable er en nettmagasin om deling. Etablert i 2009 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8010
msgid "<ulink url=\"http://www.shareable.net\"/>"
msgstr "<ulink url=\"http://www.shareable.net\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8012
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grant funding, "
"crowdfunding (project-based), donations, sponsorships"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Stipendier, "
"folkefinansiering (prosjektbasert), donasjoner, sponsing"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8015
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 24, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 24. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8018
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Neal Gorenflo, cofounder "
"and executive editor"
msgstr ""
"<emphasis role=\"strong\"> Intervjuet</emphasis>: Neal Gorenflo, medstifter "
"og administrerende redaktør"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8026
#, fuzzy
#| msgid ""
#| "In 2013, Shareable faced an impasse. The nonprofit online publication had "
#| "helped start a sharing movement four years prior, but over time, they "
#| "watched one part of the movement stray from its ideals. As giants like "
#| "Uber and Airbnb gained ground, attention began to center on the “sharing "
#| "economy” we know now—profit-driven, transactional, and loaded with "
#| "venture-capital money. Leaders of corporate start-ups in this domain "
#| "invited Shareable to advocate for them. The magazine faced a choice: ride "
#| "the wave or stand on principle."
msgid ""
"In 2013, Shareable faced an impasse. The nonprofit online publication had "
"helped start a sharing movement four years prior, but over time, they "
"watched one part of the movement stray from its ideals. As giants like Uber "
"and Airbnb gained ground, attention began to center on the <quote>sharing "
"economy</quote> we know now—profit-driven, transactional, and loaded with "
"venture-capital money. Leaders of corporate start-ups in this domain invited "
"Shareable to advocate for them. The magazine faced a choice: ride the wave "
"or stand on principle."
msgstr ""
"I 2013 møtte Shareable en blindgate. Denne nettbaserte nonprofit-"
"publikasjonen hjalp til med å starte en delingsbevegelse fire år tidligere, "
"men over tid de så en del av bevegelsen gå bort fra sine idealer. når "
"giganter som Uber og Airbnb vant terreng, begynte oppmerksomheten å senere "
"på \"delingsøkonomien\".  Vi vet nå - profitt-drevet, bygd på transaksjoner "
"og lastet med risikokapital. Ledere i konsernetableringer på dette området "
"inviterte Shareable til å være talsrør for dem. Magasinet sto overfor et "
"valg: Å ri på bølgen, eller stå på prinsippet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8037
#, fuzzy
#| msgid ""
#| "As an organization, Shareable decided to draw a line in the sand.  In "
#| "2013, the cofounder and executive editor Neal Gorenflo wrote an opinion "
#| "piece in the PandoDaily that charted Shareable’s new critical stance on "
#| "the Silicon Valley version of the sharing economy, while contrasting it "
#| "with aspects of the real sharing economy like open-source software, "
#| "participatory budgeting (where citizens decide how a public budget is "
#| "spent), cooperatives, and more. He wrote, “It’s not so much that "
#| "collaborative consumption is dead, it’s more that it risks dying as it "
#| "gets absorbed by the ‘Borg.’”"
msgid ""
"As an organization, Shareable decided to draw a line in the sand.  In 2013, "
"the cofounder and executive editor Neal Gorenflo wrote an opinion piece in "
"the PandoDaily that charted Shareable’s new critical stance on the Silicon "
"Valley version of the sharing economy, while contrasting it with aspects of "
"the real sharing economy like open-source software, participatory budgeting "
"(where citizens decide how a public budget is spent), cooperatives, and "
"more. He wrote, <quote>It’s not so much that collaborative consumption is "
"dead, it’s more that it risks dying as it gets absorbed by the <quote>Borg.</"
"quote></quote>"
msgstr ""
"Som organisasjon besluttet Shareable å sette en strek. I 2013 skrev "
"medstifter og sjefsredaktør Neal Gorenflo et innlegg i PandoDaily som kartla "
"Shareables nye kritiske holdning til Silicon Valleys versjonen av "
"delingsøkonomien, i motsetning til viktige sider ved den virkelige "
"delingsøkonomien, som fri programvare, deltakende budsjettering (der borgere "
"avgjør hvordan et offentlig budsjett blir brukt), kooperativer med mer. Han "
"skrev, <quote>Det er ikke det at samarbeidet om forbruk er dødt, det er mer "
"det at det risikerer døden etter hvert som det blir absorbert av "
"‹Borgkollektivet› </quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8049
#, fuzzy
#| msgid ""
#| "Neal said their public critique of the corporate sharing economy defined "
#| "what Shareable was and is. He does not think the magazine would still be "
#| "around had they chosen differently. “We would have gotten another type of "
#| "audience, but it would have spelled the end of us,” he said. “We are a "
#| "small, mission-driven organization. We would never have been able to "
#| "weather the criticism that Airbnb and Uber are getting now.”"
msgid ""
"Neal said their public critique of the corporate sharing economy defined "
"what Shareable was and is. He does not think the magazine would still be "
"around had they chosen differently. <quote>We would have gotten another type "
"of audience, but it would have spelled the end of us,</quote> he said. "
"<quote>We are a small, mission-driven organization. We would never have been "
"able to weather the criticism that Airbnb and Uber are getting now.</quote>"
msgstr ""
"Neal sa at deres offentlige kritikk av konsernbasert delingsøkonomi "
"definerte hva Shareable var og er. Han tror ikke magasinet forsatt ville ha "
"eksistert om de hadde valgt annerledes. <quote>Vi ville ha fått en annen "
"type mottakere, men det ville ha betydd slutten for oss</quote>, sa han. "
"<quote>Vi er en liten, oppdragsdrevet organisasjon. Vi ville aldri kunne "
"klart oss igjennom den kritikken som Airbnb og Uber møter nå</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8059
#, fuzzy
#| msgid ""
#| "Interestingly, impassioned supporters are only a small sliver of "
#| "Shareable’s total audience. Most are casual readers who come across a "
#| "Shareable story because it happens to align with a project or interest "
#| "they have. But choosing principles over the possibility of riding the "
#| "coattails of the major corporate players in the sharing space saved "
#| "Shareable’s credibility. Although they became detached from the corporate "
#| "sharing economy, the online magazine became the voice of the “real "
#| "sharing economy” and continued to grow their audience."
msgid ""
"Interestingly, impassioned supporters are only a small sliver of Shareable’s "
"total audience. Most are casual readers who come across a Shareable story "
"because it happens to align with a project or interest they have. But "
"choosing principles over the possibility of riding the coattails of the "
"major corporate players in the sharing space saved Shareable’s credibility. "
"Although they became detached from the corporate sharing economy, the online "
"magazine became the voice of the <quote>real sharing economy</quote> and "
"continued to grow their audience."
msgstr ""
"Interessant nok er lidenskapelige tilhengere bare en liten del av Shareables "
"samlede publikum. De fleste er tilfeldige  lesere som kommer over en "
"Shareable-historie fordi den er knyttet til et prosjekt eller interesse de "
"har. Men å velge prinsipper fremfor muligheten for henge i frakkeskjøtene på "
"de store konsernaktørene på deleområdet reddet Shareables troverdighet. Selv "
"om de ble løsrevet fra den konsernbaserte delingsøkonomien, ble "
"nettmagasinet stemmen til den <quote>virkelige delingsøkonomien</quote>, og "
"fortsatte med et voksende publikum."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8070
#, fuzzy
#| msgid ""
#| "Shareable is a magazine, but the content they publish is a means to "
#| "furthering their role as a leader and catalyst of a movement.  Shareable "
#| "became a leader in the movement in 2009. “At that time, there was a "
#| "sharing movement bubbling beneath the surface, but no one was connecting "
#| "the dots,” Neal said. “We decided to step into that space and take on "
#| "that role.” The small team behind the nonprofit publication truly "
#| "believed sharing could be central to solving some of the major problems "
#| "human beings face—resource inequality, social isolation, and global "
#| "warming."
msgid ""
"Shareable is a magazine, but the content they publish is a means to "
"furthering their role as a leader and catalyst of a movement.  Shareable "
"became a leader in the movement in 2009. <quote>At that time, there was a "
"sharing movement bubbling beneath the surface, but no one was connecting the "
"dots,</quote> Neal said. <quote>We decided to step into that space and take "
"on that role.</quote> The small team behind the nonprofit publication truly "
"believed sharing could be central to solving some of the major problems "
"human beings face—resource inequality, social isolation, and global warming."
msgstr ""
"Shareable er et blad, men innholdet de publiserer er et middel til å fremme "
"sin rolle som leder og katalysator for en bevegelse.  Shareable ble leder i "
"bevegelsen i 2009. <quote>På den tiden var det en delingsbevegelse boblende "
"under overflaten, men ingen koblet prikkene</quote>, sa Neal. <quote>Vi "
"besluttet å gå inn i det rommet og ta på oss denne rollen.</quote> Det lille "
"teamet bak nonprofit-publikasjonen trodde virkelig at deling kunne bli "
"sentralt for å løse noen av de store problemene mennesker står overfor – "
"ressursulikhet, sosial isolasjon og global oppvarming."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8082
#, fuzzy
#| msgid ""
#| "They have worked hard to find ways to tell stories that show different "
#| "metrics for success. “We wanted to change the notion of what constitutes "
#| "the good life,” Neal said. While they started out with a very broad focus "
#| "on sharing generally, today they emphasize stories about the physical "
#| "commons like “sharing cities” (i.e., urban areas managed in a "
#| "sustainable, cooperative way), as well as digital platforms that are run "
#| "democratically. They particularly focus on how-to content that help their "
#| "readers make changes in their own lives and communities."
msgid ""
"They have worked hard to find ways to tell stories that show different "
"metrics for success. <quote>We wanted to change the notion of what "
"constitutes the good life,</quote> Neal said. While they started out with a "
"very broad focus on sharing generally, today they emphasize stories about "
"the physical commons like <quote>sharing cities</quote> (i.e., urban areas "
"managed in a sustainable, cooperative way), as well as digital platforms "
"that are run democratically. They particularly focus on how-to content that "
"help their readers make changes in their own lives and communities."
msgstr ""
"De har jobbet hardt for å finne måter å fortelle historier som viser ulike "
"grep for suksess. <quote>Vi ønsket å endre oppfatningen av hva som utgjør "
"det gode liv,</quote>, sier Neal. Mens de startet med et svært bredt fokus "
"på deling generelt, understreker de i dag historier om fysiske fellesskap "
"som <quote>delte byer</quote> (det vil si byområder som styres bærekraftig "
"og kooperativt), så vel som digitale plattformer som drives demokratisk. De "
"fokuserer spesielt på hvordan gjør-det-selv-innhold som hjelper sine lesere "
"til å gjøre endringer i sine egne liv og samfunn."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8094
msgid ""
"More than half of Shareable’s stories are written by paid journalists that "
"are contracted by the magazine.  <quote>Particularly in content areas that "
"are a priority for us, we really want to go deep and control the quality,</"
"quote> Neal said. The rest of the content is either contributed by guest "
"writers, often for free, or written by other publications from their network "
"of content publishers. Shareable is a member of the Post Growth Alliance, "
"which facilitates the sharing of content and audiences among a large and "
"growing group of mostly nonprofits.  Each organization gets a chance to "
"present stories to the group, and the organizations can use and promote each "
"other’s stories.  Much of the content created by the network is licensed "
"with Creative Commons."
msgstr ""
"Mer enn halvparten av historiene i Shareables er skrevet av betalte "
"journalister som har kontrakt med bladet. <quote>Spesielt på områder som er "
"prioritert hos oss, ønsker vi virkelig å gå dypt og kontrollere kvaliteten</"
"quote>, sier Neal. Resten av innholdet er enten bidrag fra gjesteskribenter, "
"ofte kostnadsfritt eller skrevet i andre publikasjoner med gjennom deres "
"nettverk av innholdsleverandører.  Shareable er medlem av Post Growth "
"Alliance, som muliggjør deling av innhold og publikum i en stort og voksende "
"gruppe av hovedsakelig ikke-kommersielle organisasjoner. Hver organisasjon "
"får en sjanse til å presentere historier for gruppen, og organisasjoner kan "
"bruke og fremme hverandres historier. Mye av innholdet som lages av "
"nettverket er lisensiert med Creative Commons."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8109
#, fuzzy
#| msgid ""
#| "All of Shareable’s original content is published under the Attribution "
#| "license (CC BY), meaning it can be used for any purpose as long as credit "
#| "is given to Shareable. Creative Commons licensing is aligned with "
#| "Shareable’s vision, mission, and identity. That alone explains the "
#| "organization’s embrace of the licenses for their content, but Neal also "
#| "believes CC licensing helps them increase their reach. “By using CC "
#| "licensing,” he said, “we realized we could reach far more people through "
#| "a formal and informal network of republishers or affiliates. That has "
#| "definitely been the case. It’s hard for us to measure the reach of other "
#| "media properties, but most of the outlets who republish our work have "
#| "much bigger audiences than we do.”"
msgid ""
"All of Shareable’s original content is published under the Attribution "
"license (CC BY), meaning it can be used for any purpose as long as credit is "
"given to Shareable. Creative Commons licensing is aligned with Shareable’s "
"vision, mission, and identity. That alone explains the organization’s "
"embrace of the licenses for their content, but Neal also believes CC "
"licensing helps them increase their reach. <quote>By using CC licensing,</"
"quote> he said, <quote>we realized we could reach far more people through a "
"formal and informal network of republishers or affiliates. That has "
"definitely been the case. It’s hard for us to measure the reach of other "
"media properties, but most of the outlets who republish our work have much "
"bigger audiences than we do.</quote>"
msgstr ""
"Alt originalt innhold i Shareable er publisert med navngivingslisens (CC "
"BY), som betyr at det kan brukes til alle formål så fremt henvisning gis til "
"Shareable. Creative Commons-lisensiering er knyttet til Shareables visjon, "
"misjon og identitet. Det alene forklarer organisasjonens tilslutning til "
"lisensene for sitt innhold, men Neal mener CC-lisensiering hjelper dem å øke "
"sin rekkevidde. <quote>Ved å bruke CC-lisensiering</quote>, sa han, "
"<quote>skjønte vi at vi kan nå langt flere mennesker gjennom et formelt og "
"uformelt nettverk av republiserere eller forbindelser. Det har definitivt "
"vært tilfelle. Det er vanskelig for oss å måle rekkevidden for andre medier, "
"men de fleste av dem som publiserer vårt arbeid har mye større publikum enn "
"vi har</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8124
msgid ""
"In addition to their regular news and commentary online, Shareable has also "
"experimented with book publishing. In 2012, they worked with a traditional "
"publisher to release Share or Die: Voices of the Get Lost Generation in an "
"Age of Crisis. The CC-licensed book was available in print form for purchase "
"or online for free. To this day, the book—along with their CC-licensed guide "
"Policies for Shareable Cities—are two of the biggest generators of traffic "
"on their website."
msgstr ""
"I tillegg til sine vanlige nyheter og kommentarer på nettet, har Shareable "
"også eksperimentert med publisering. I 2012  jobbet de med et tradisjonelt "
"forlag for å gi ut <quote>Share or Die: Voices of the Get Lost Generation in "
"an Age of Crisis</quote>. Den CC-lisensierte boken var tilgjengelig i trykt "
"form for kjøp eller gratis på nettet. Boken, sammen med deres CC-lisensierte "
"guide <quote>Policies for Shareable Cities</quote>, er to av de største "
"produsentene av trafikk på hjemmesiden deres."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8134
msgid ""
"In 2016, Shareable self-published a book of curated Shareable stories called "
"How to: Share, Save Money and Have Fun. The book was available for sale, but "
"a PDF version of the book was available for free. Shareable plans to offer "
"the book in upcoming fund-raising campaigns."
msgstr ""
"I 2016  publiserte Shareable selv en håndbok med Shareable-historier kalt "
"slik: <quote>How to: Share, Save Money and Have Fun</quote>. Boken var "
"tilgjengelig for salg, mens en PDF-versjon av boken var tilgjengelig gratis. "
"Shareable planlegger å tilby boken i kommende pengeinnsamlingskampanjer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8141
msgid ""
"This recent book is one of many fund-raising experiments Shareable has "
"conducted in recent years. Currently, Shareable is primarily funded by "
"grants from foundations, but they are actively moving toward a more "
"diversified model. They have organizational sponsors and are working to "
"expand their base of individual donors.  Ideally, they will eventually be a "
"hundred percent funded by their audience. Neal believes being fully "
"community-supported will better represent their vision of the world."
msgstr ""
"Denne siste boken er en av mange pengeinnsamlingseksperimenter Shareable har "
"gjennomført de siste årene. Foreløpig er Shareable primært finansiert av "
"tilskudd fra stiftelser, men de beveger seg aktivt mot en mer diversifisert "
"(mangfoldig) modell. De har organiserte sponsorer, og arbeider med å utvide "
"basen av individuelle givere.  Ideelt sett vil de til slutt være hundre "
"prosent finansiert av publikum. Neal mener at å være fullt ut støttet av "
"samfunnet, vil bedre representere deres visjon av verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8151
#, fuzzy
#| msgid ""
#| "For Shareable, success is very much about their impact on the world. This "
#| "is true for Neal, but also for everyone who works for Shareable. “We "
#| "attract passionate people,” Neal said. At times, that means employees "
#| "work so hard they burn out. Neal tries to stress to the Shareable team "
#| "that another part of success is having fun and taking care of yourself "
#| "while you do something you love. “A central part of human beings is that "
#| "we long to be on a great adventure with people we love,” he said. “We are "
#| "a species who look over the horizon and imagine and create new worlds, "
#| "but we also seek the comfort of hearth and home.”"
msgid ""
"For Shareable, success is very much about their impact on the world. This is "
"true for Neal, but also for everyone who works for Shareable. <quote>We "
"attract passionate people,</quote> Neal said.  At times, that means "
"employees work so hard they burn out. Neal tries to stress to the Shareable "
"team that another part of success is having fun and taking care of yourself "
"while you do something you love. <quote>A central part of human beings is "
"that we long to be on a great adventure with people we love,</quote> he "
"said.  <quote>We are a species who look over the horizon and imagine and "
"create new worlds, but we also seek the comfort of hearth and home.</quote>"
msgstr ""
"For Shareable handler suksess mye om deres innvirkning på verden. Dette "
"gjelder for Neal, men også for alle som arbeider for Shareable. <quote>Vi "
"tiltrekker lidenskapelige mennesker</quote>, sier Neal. Til tider betyr det "
"at ansatte jobber så hardt at de blir utbrent. Neal prøver å understreke for "
"Shareable-teamet at en annen side av suksess er å ha det gøy og ta vare på "
"deg selv, samtidig som du gjør noe du elsker. <quote>En sentral del av å "
"være menneske er at vi lengter etter å være med på et stort eventyr med "
"mennesker vi elsker</quote>, sa han. <quote>Vi er en art som ser over "
"horisonten og tenker og skaper nye verdener, men vi  søker også etter "
"komforten i hjemmet</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8164
#, fuzzy
#| msgid ""
#| "In 2013, Shareable ran its first crowdfunding campaign to launch their "
#| "Sharing Cities Network. Neal said at first they were on pace to fail "
#| "spectacularly. They called in their advisers in a panic and asked for "
#| "help. The advice they received was simple—“Sit your ass in a chair and "
#| "start making calls.” That’s exactly what they did, and they ended up "
#| "reaching their $50,000 goal. Neal said the campaign helped them reach new "
#| "people, but the vast majority of backers were people in their existing "
#| "base."
msgid ""
"In 2013, Shareable ran its first crowdfunding campaign to launch their "
"Sharing Cities Network. Neal said at first they were on pace to fail "
"spectacularly. They called in their advisers in a panic and asked for help. "
"The advice they received was simple—<quote>Sit your ass in a chair and start "
"making calls.</quote> That’s exactly what they did, and they ended up "
"reaching their $50,000 goal. Neal said the campaign helped them reach new "
"people, but the vast majority of backers were people in their existing base."
msgstr ""
"I 2013 kjørte Shareable sin første folkefinansieringskampanje for å starte "
"sitt Sharing Cities Network. Neal sa at de først var på vei til å mislykkes "
"stort. De kalte inn sine rådgivere i panikk, og ba om hjelp. Rådet de fikk "
"var enkelt -  <quote>Sett deg på en stol og start samtaler</quote>. Det er "
"nøyaktig hva de gjorde, og de endte opp med å nå målet på 50 000 dollar. "
"Neal sa at kampanjen hjalp dem med å nå nye mennesker, men de aller fleste "
"støttespillere var folk i deres eksisterende base."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8174
msgid ""
"For Neal, this symbolized how so much of success comes down to "
"relationships. Over time, Shareable has invested time and energy into the "
"relationships they have forged with their readers and supporters. They have "
"also invested resources into building relationships between their readers "
"and supporters."
msgstr ""
"For Neal symboliserte dette hvordan så mye av suksessen som kommer fra "
"relasjoner. Over tid har Shareable investert tid og energi på forholdet til "
"leserne og tilhengerne sine. De har også investert ressurser i å bygge "
"relasjoner mellom sine lesere og tilhengere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8181
#, fuzzy
#| msgid ""
#| "Shareable began hosting events in 2010. These events were designed to "
#| "bring the sharing community together. But over time they realized they "
#| "could reach far more people if they helped their readers to host their "
#| "own events. “If we wanted to go big on a conference, there was a huge "
#| "risk and huge staffing needs, plus only a fraction of our community could "
#| "travel to the event,” Neal said. Enabling others to create their own "
#| "events around the globe allowed them to scale up their work more "
#| "effectively and reach far more people. Shareable has catalyzed three "
#| "hundred different events reaching over twenty thousand people since "
#| "implementing this strategy three years ago. Going forward, Shareable is "
#| "focusing the network on creating and distributing content meant to spur "
#| "local action. For instance, Shareable will publish a new CC-licensed book "
#| "in 2017 filled with ideas for their network to implement."
msgid ""
"Shareable began hosting events in 2010. These events were designed to bring "
"the sharing community together. But over time they realized they could reach "
"far more people if they helped their readers to host their own events. "
"<quote>If we wanted to go big on a conference, there was a huge risk and "
"huge staffing needs, plus only a fraction of our community could travel to "
"the event,</quote> Neal said. Enabling others to create their own events "
"around the globe allowed them to scale up their work more effectively and "
"reach far more people. Shareable has catalyzed three hundred different "
"events reaching over twenty thousand people since implementing this strategy "
"three years ago. Going forward, Shareable is focusing the network on "
"creating and distributing content meant to spur local action. For instance, "
"Shareable will publish a new CC-licensed book in 2017 filled with ideas for "
"their network to implement."
msgstr ""
"Shareable begynte å huse arrangementer i 2010. Disse arrangementene var ment "
"å bringe videodelingssamfunnet sammen. Men over tid skjønte de at de kunne "
"nå langt flere mennesker hvis de hjalp sine lesere til å lage egne "
"arrangementer.  <quote>Hvis vi ønsket å gjøre det stort med en konferanse, "
"var det stor risiko og et stort bemanningsbehov, i tillegg til at bare en "
"brøkdel av vårt fellesskap som kunne reise til arrangementet</quote>, sier "
"Neal. Å aktivere andre til å lage sine egne arrangementer over hele verden "
"tillot dem å skalere opp arbeidet mer effektivt, og nå langt flere personer. "
"Shareable har fremmet tre hundre ulike arrangementer, og nådd over tjue "
"tusen mennesker siden de gjennomførte denne strategien for tre år siden. I "
"fortsettelsen  fokuserer Shareable på å lage og distribuere innhold som er "
"ment å anspore til lokale tiltak. For eksempel ville Shareable publisere en "
"ny CC-lisensiert bok i 2017 fylt med ideer som nettverket kan  gjennomføre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8198
msgid ""
"Neal says Shareable stumbled upon this strategy, but it seems to perfectly "
"encapsulate just how the commons is supposed to work.  Rather than a one-"
"size-fits-all approach, Shareable puts the tools out there for people take "
"the ideas and adapt them to their own communities."
msgstr ""
"Neal sier at Shareable snublet over denne strategien, men det synes å "
"perfekt sammenfatte hvordan fellesskap er ment å fungere.  I stedet for en "
"størrelse som skal passe for alle, legger Shareable ut verktøy der folk kan "
"ta ideer og tilpasse dem til sine egne lokalsamfunn."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8206
msgid "Siyavula"
msgstr "Siyavula"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8209
msgid ""
"Siyavula is a for-profit educational-technology company that creates "
"textbooks and integrated learning experiences. Founded in 2012 in South "
"Africa."
msgstr ""
"Siyavula er et fortjenestebasert pedagogisk-teknologiselskap som lager "
"lærebøker og integrerte læringsopplevelser. Grunnlagt i 2012 i Sør-Afrika."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8214
msgid "<ulink url=\"http://www.siyavula.com\"/>"
msgstr "<ulink url=\"http://www.siyavula.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8216
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services, sponsorships"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for tilpassede "
"tjenester, sponsing"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8219
msgid "<emphasis role=\"strong\">Interview date</emphasis>: April 5, 2016"
msgstr "<emphasis role=\"strong\">Intervjudato</emphasis>: 5. april 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8221
msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Mark Horner, CEO"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Mark Horner, "
"administrerende direktør"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8228
msgid ""
"Openness is a key principle for Siyavula. They believe that every learner "
"and teacher should have access to high-quality educational resources, as "
"this forms the basis for long-term growth and development. Siyavula has been "
"a pioneer in creating high-quality open textbooks on mathematics and science "
"subjects for grades 4 to 12 in South Africa."
msgstr ""
"Åpenhet er et viktig prinsipp for Siyavula. De tror at hver elev og lærer "
"bør ha tilgang til høykvalitets pedagogiske ressurser, da dette danner "
"grunnlag for langsiktig vekst og utvikling. Siyavula har vært en pioner i å "
"skape høykvalitets åpne lærebøker i matematikk og naturfag for fra fjerde "
"til tolvte klasse i Sør-Afrika."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8236
#, fuzzy
msgid ""
"In terms of creating an open business model that involves Creative Commons, "
"Siyavula—and its founder, Mark Horner—have been around the block a few "
"times. Siyavula has significantly shifted directions and strategies to "
"survive and prosper. Mark says it’s been very organic."
msgstr ""
"Når det gjelder å skape en åpen forretningsmodell knyttet til Creative "
"Commons, har Siyavula og dets grunnlegger, Mark Horner måttet gå noen runder "
"med seg selv. Siyavula har markant skiftet retning og strategi flere ganger "
"for å overleve og blomstre. Mark sier det hele har opptrådt veldig organisk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8243
msgid ""
"It all started in 2002, when Mark and several other colleagues at the "
"University of Cape Town in South Africa founded the Free High School Science "
"Texts project. Most students in South Africa high schools didn’t have access "
"to high-quality, comprehensive science and math textbooks, so Mark and his "
"colleagues set out to write them and make them freely available."
msgstr ""
"Det hele startet i 2002, da Mark og flere andre kolleger ved University of "
"Cape Town i Sør-Afrika grunnla det gratis prosjektet High School Science "
"Texts. De fleste studentene i Sør-Afrika videregående skoler hadde ikke "
"tilgang til utfyllende lærebøker med høy kvalitet i naturfag og matematikk, "
"så Mark og hans kolleger startet med å skrive dem, og gjøre dem fritt "
"tilgjengelig."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8254
msgid "<ulink url=\"http://www.gnu.org/licenses/fdl\"/>"
msgstr "<ulink url=\"http://www.gnu.org/licenses/fdl\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8251
msgid ""
"As physicists, Mark and his colleagues were advocates of open-source "
"software. To make the books open and free, they adopted the Free Software "
"Foundation’s GNU Free Documentation License.<placeholder type=\"footnote\" "
"id=\"0\"/> They chose LaTeX, a typesetting program used to publish "
"scientific documents, to author the books. Over a period of five years, the "
"Free High School Science Texts project produced math and physical-science "
"textbooks for grades 10 to 12."
msgstr ""
"Som fysikere var Mark og hans kolleger tilhengere av fri programvare. For å "
"lage frie og åpne bøker tok de i bruk Free Software Foundations GNU Free "
"Documentation License.<placeholder type=\"footnote\" id=\"0\"/> For å skrive "
"bøkene valgte de LaTeX, et typesettingsprogram som brukes til å publisere "
"vitenskapelige dokumenter. Over en periode på fem år produserte High School "
"Science-prosjektet lærebøker i matematikk og naturvitenskap for 10. til 12. "
"klasse."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8260
msgid ""
"In 2007, the Shuttleworth Foundation offered funding support to make the "
"textbooks available for trial use at more schools.  Surveys before and after "
"the textbooks were adopted showed there were no substantial criticisms of "
"the textbooks’ pedagogical content. This pleased both the authors and "
"Shuttleworth; Mark remains incredibly proud of this accomplishment."
msgstr ""
"I 2007 tilbød Shuttleworth Foundation finansieringsstøtte for å gjøre "
"lærebøker tilgjengelig for utprøving på flere skoler. Undersøkelser før og "
"etter lærebøker ble tatt i bruk, viste ikke noen betydelig kritikk av "
"lærebøkenes pedagogiske innhold. Dette gledet både forfattere og "
"Shuttleworth. Mark er utrolig stolt av å ha oppnådd dette."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8268
msgid ""
"But the development of new textbooks froze at this stage. Mark shifted his "
"focus to rural schools, which didn’t have textbooks at all, and looked into "
"the printing and distribution options. A few sponsors came on board but not "
"enough to meet the need."
msgstr ""
"Men utviklingen av nye lærebøker frøs på dette stadiet. Mark flyttet sitt "
"fokus til skoler på landsbygda, som ikke har lærebøker i det hele tatt, og "
"så på alternativene for trykking og distribusjon. Noen sponsorer dukket opp, "
"men ikke mange nok til å møte behovet."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8278
msgid "<ulink url=\"http://www.capetowndeclaration.org\"/>"
msgstr "<ulink url=\"http://www.capetowndeclaration.org\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8274
msgid ""
"In 2007, Shuttleworth and the Open Society Institute convened a group of "
"open-education activists for a small but lively meeting in Cape Town. One "
"result was the Cape Town Open Education Declaration, a statement of "
"principles, strategies, and commitment to help the open-education movement "
"grow.<placeholder type=\"footnote\" id=\"0\"/> Shuttleworth also invited "
"Mark to run a project writing open content for all subjects for K–12 in "
"English. That project became Siyavula."
msgstr ""
"I 2007 sammenkalte Shuttleworth og Open Society Institute en gruppe av åpen-"
"utdanningsaktivister til et lite men livlig møte i Cape Town. Ett resultatet "
"var Cape Town Open Education Declaration, en erklæring om prinsipper, "
"strategier og engasjement for å hjelpe den åpne-utdanningsbevegelsen til å "
"vokse.<placeholder type=\"footnote\" id=\"0\"/> Shuttleworth inviterte også "
"Mark til å gjennomføre et åpent innholdsprosjekt for alle fag i K-12 på "
"engelsk. Det prosjektet ble til Siyavula."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8283
msgid ""
"They wrote six original textbooks. A small publishing company offered "
"Shuttleworth the option to buy out the publisher’s existing K–9 content for "
"every subject in South African schools in both English and Afrikaans. A deal "
"was struck, and all the acquired content was licensed with Creative Commons, "
"significantly expanding the collection beyond the six original books."
msgstr ""
"De skrev seks originale lærebøker. Et lite forlag tilbød Shuttleworth å "
"kjøpe forlagets K-9 innhold for alle fag i sørafrikanske skoler både på "
"engelsk og Afrikaans. En avtale ble inngått, og alt det ervervede innholdet "
"ble lisensiert med Creative Commons, en betydelig utvidelse i forhold til de "
"seks opprinnelige bøkene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8291
msgid ""
"Mark wanted to build out the remaining curricula collaboratively through "
"communities of practice—that is, with fellow educators and writers. Although "
"sharing is fundamental to teaching, there can be a few challenges when you "
"create educational resources collectively. One concern is legal. It is "
"standard practice in education to copy diagrams and snippets of text, but of "
"course this doesn’t always comply with copyright law. Another concern is "
"transparency. Sharing what you’ve authored means everyone can see it and "
"opens you up to criticism. To alleviate these concerns, Mark adopted a team-"
"based approach to authoring and insisted the curricula be based entirely on "
"resources with Creative Commons licenses, thereby ensuring they were safe to "
"share and free from legal repercussions."
msgstr ""
"Mark ønsket å lage det gjenværende pensum i samarbeid, gjennom "
"praksisfellesskap – med andre lærere og forfattere. Selv om deling er "
"fundamentalt i undervisning, kan det være noen utfordringer når du lager "
"pedagogiske ressurser kollektivt. En bekymring gjelder. Det er vanlig "
"praksis i utdanning å kopiere diagrammer og tekstutdrag, men selvfølgelig er "
"dette ikke alltid i samsvar med opphavsretten. En annen bekymring er "
"åpenhet. Deling av hva du har skrevet, betyr at alle kan se det, og du åpner "
"opp for kritikk. For å lette disse bekymringene tok Mark i bruk en team-"
"basert tilnærming til redigering, og insisterte på at pensum utelukkende "
"skulle være basert på ressurser med Creative Commons-lisenser, og dermed "
"trygge å dele, og fri fra juridiske tilbakeslag."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8310
msgid "<ulink url=\"http://cnx.org\"/>"
msgstr "<ulink url=\"http://cnx.org\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8306
msgid ""
"Not only did Mark want the resources to be shareable, he wanted all teachers "
"to be able to remix and edit the content. Mark and his team had to come up "
"with an open editable format and provide tools for editing. They ended up "
"putting all the books they’d acquired and authored on a platform called "
"Connexions.<placeholder type=\"footnote\" id=\"0\"/> Siyavula trained many "
"teachers to use Connexions, but it proved to be too complex and the "
"textbooks were rarely edited."
msgstr ""
"Ikke bare ville Mark at ressursene skulle være delbare, han ville at alle "
"lærere kunne remikse og redigere innholdet. Mark og hans team måtte komme "
"opp med et åpent redigerbart format, og levere redigeringsverktøy. De endte "
"opp med å legge alle bøkene de hadde kjøpt og skrevet på en plattform som "
"heter Conexions.<placeholder type=\"footnote\" id=\"0\"/> Siyavula lærte opp "
"mange lærere til å bruke Connexions, men det viste seg for å være for "
"komplisert, og lærebøker ble sjelden redigert."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8314
msgid ""
"Then the Shuttleworth Foundation decided to completely restructure its work "
"as a foundation into a fellowship model (for reasons completely unrelated to "
"Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as "
"an independent entity and took ownership over it as a Shuttleworth fellow."
msgstr ""
"Da besluttet Shuttleworth Foundation å helt restrukturere sitt arbeid som en "
"stiftelse til en fellesskapsmodell (av grunner helt uten tilknytning til "
"Siyavula). Som en del av denne overgangen i 2009-2010, arvet Mark Siyavula "
"som en uavhengig enhet, og tok eierskap over det som medlem av Shuttleworth."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8321
msgid ""
"Mark and his team experimented with several different strategies.  They "
"tried creating an authoring and hosting platform called Full Marks so that "
"teachers could share assessment items. They tried creating a service called "
"Open Press, where teachers could ask for open educational resources to be "
"aggregated into a package and printed for them. These services never really "
"panned out."
msgstr ""
"Mark og hans team eksperimenterte med flere ulike strategier.  De prøvde å "
"opprette en redigerings- og vertskapsplattform kalt Full Marks, slik at "
"lærere kunne dele vurderingstemaer. De prøvde å lage en tjeneste kalt Open "
"Press, der lærere kunne be om at åpne pedagogiske ressurser skulle "
"akkumuleres i en pakke, og skrevet for dem. Disse tjenestene har aldri "
"virkelig rullet ut."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8329
msgid ""
"Then the South African government approached Siyavula with an interest in "
"printing out the original six Free High School Science Texts (math and "
"physical-science textbooks for grades 10 to 12)  for all high school "
"students in South Africa. Although at this point Siyavula was a bit "
"discouraged by open educational resources, they saw this as a big "
"opportunity."
msgstr ""
"Så nærmet den sørafrikanske regjeringen seg Siyavula med en interesse for å "
"skrive ut de opprinnelige seks Free High School Science Texts (lærebøker i "
"matematikk og naturvitenskap for 10-12 klasse) for alle high school-elever "
"(elever i videregående opplæring) i Sør-Afrika. Selv om  Siyavula  var litt "
"avskrekket av åpne pedagogiske ressurser på dette tidspunktet, så de så "
"dette som en stor mulighet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8337
msgid ""
"They began to conceive of the six books as having massive marketing "
"potential for Siyavula. Printing Siyavula books for every kid in South "
"Africa would give their brand huge exposure and could drive vast amounts of "
"traffic to their website. In addition to print books, Siyavula could also "
"make the books available on their website, making it possible for learners "
"to access them using any device—computer, tablet, or mobile phone."
msgstr ""
"De begynte å oppfatte at seks bøker hadde et enormt markedsføringspotensial "
"for Siyavula. Å trykke Siyavula-bøker til  hvert barn i Sør-Afrika ville gi "
"merkevaren deres stor eksponering, og kunne gi store mengder trafikk til "
"nettstedet deres. I tillegg til bøker, kan Siyavula også gjøre bøkene "
"tilgjengelige på hjemmesiden sin, og gjøre det mulig for elever å få tilgang "
"til dem fra alle enheter – datamaskin, nettbrett eller mobiltelefon."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8346
msgid ""
"Mark and his team began imagining what they could develop beyond what was in "
"the textbooks as a service they charge for. One key thing you can’t do well "
"in a printed textbook is demonstrate solutions. Typically, a one-line answer "
"is given at the end of the book but nothing on the process for arriving at "
"that solution.  Mark and his team developed practice items and detailed "
"solutions, giving learners plenty of opportunity to test out what they’ve "
"learned. Furthermore, an algorithm could adapt these practice items to the "
"individual needs of each learner. They called this service Intelligent "
"Practice and embedded links to it in the open textbooks."
msgstr ""
"Mark og teamet hans forestilte seg etter hvert hva de kunne utvikle, utover "
"det som var i lærebøker, som en tjeneste de tar betalt for. En viktig ting "
"du ikke kan gjøre i en trykt lærebok er å demonstrere løsninger. Vanligvis "
"gis det et enlinjers svar i slutten av boken, men ingenting om prosessen for "
"å komme frem til løsningen. Mark og hans team utviklet øvelseselementene og "
"detaljerte løsninger, og ga elever mange muligheter til å teste ut det de "
"har lært. Videre kunne en algoritme tilpasse disse øvelseselementene til de "
"individuelle behovene til hver enkelt elev. De kalte denne tjenesten "
"Intelligent Practice  (Intelligent praksis) , og la inn innebygde lenker til "
"den i de åpne lærebøkene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8359
msgid ""
"The costs for using Intelligent Practice were set very low, making it "
"accessible even to those with limited financial means. Siyavula was going "
"for large volumes and wide-scale use rather than an expensive product "
"targeting only the high end of the market."
msgstr ""
"Kostnadene for å bruke Intelligent Practices ble satt svært lavt, noe som "
"gjøre den tilgjengelig selv for de med begrenset økonomi. Siyavula gikk for "
"store volumer og bred bruk i stedet for et dyrt produkt rettet mot bare den "
"mest bemidlede delen av markedet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8365
msgid ""
"The government distributed the books to 1.5 million students, but there was "
"an unexpected wrinkle: the books were delivered late.  Rather than wait, "
"schools who could afford it provided students with a different textbook. The "
"Siyavula books were eventually distributed, but with well-off schools mainly "
"using a different book, the primary market for Siyavula’s Intelligent "
"Practice service inadvertently became low-income learners."
msgstr ""
"Regjeringen distribuerte bøkene til 1,5 millioner studenter, men det var en "
"uventet  mangel: Bøkene ble levert sent. I stedet for å vente, ga skoler som "
"hadde råd elevene en annen lærebok. Siyavula-bøker ble til slutt "
"distribuert, men med velstående skoler som hovedsakelig bruker en annen bok, "
"ble det primære markedet for Siyavulas Intelligent Practice-tjeneste, "
"utilsiktet for lavinntektselever."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8374
#, fuzzy
#| msgid ""
#| "Siyavula’s site did see a dramatic increase in traffic. They got five "
#| "hundred thousand visitors per month to their math site and the same "
#| "number to their science site. Two-fifths of the traffic was reading on a "
#| "“feature phone” (a nonsmartphone with no apps).  People on basic phones "
#| "were reading math and science on a two-inch screen at all hours of the "
#| "day. To Mark, it was quite amazing and spoke to a need they were "
#| "servicing."
msgid ""
"Siyavula’s site did see a dramatic increase in traffic. They got five "
"hundred thousand visitors per month to their math site and the same number "
"to their science site. Two-fifths of the traffic was reading on a "
"<quote>feature phone</quote> (a nonsmartphone with no apps). People on basic "
"phones were reading math and science on a two-inch screen at all hours of "
"the day. To Mark, it was quite amazing and spoke to a need they were "
"servicing."
msgstr ""
"Siyavulas nettsted så en dramatisk økning i trafikken. De fikk fem hundre "
"tusen besøkende per måned til sitt nettsted for matte og samme antall til "
"nettområdet deres for naturfag. Tofemtedeler av trafikken var lesing fra en "
"\"funksjonstelefon\" (en ikke smart mobil uten ingen apper). Folk med "
"basistelefoner lest matematikk og realfag på en to-tommers skjerm alle "
"døgnets timer. Det var helt fantastisk for Mark og vendte seg til et behov "
"de betjente."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8383
msgid ""
"At first, the Intelligent Practice services could only be paid using a "
"credit card. This proved problematic, especially for those in the low-income "
"demographic, as credit cards were not prevalent.  Mark says Siyavula got a "
"harsh business-model lesson early on. As he describes it, it’s not just "
"about product, but how you sell it, who the market is, what the price is, "
"and what the barriers to entry are."
msgstr ""
"Først, Intelligent Practice-tjenestene kunne bare betales med et "
"kredittkort. Dette viste seg problematisk, særlig for dem i  "
"lavinntektsgruppene, der kredittkort ikke var utbredt.  Mark sier Siyavula "
"tidlig fikk en hard lekse i forretningsmodell. Som han beskriver det, det "
"handler  ikke bare om produktet, men hvordan du selger det, hvem markedet "
"er, hva prisen er, og hva som er barrierene for bruk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8392
msgid ""
"Mark describes this as the first version of Siyavula’s business model: open "
"textbooks serving as marketing material and driving traffic to your site, "
"where you can offer a related service and convert some people into a paid "
"customer."
msgstr ""
"Mark beskriver dette som den første versjonen av Siyavulas "
"forretningsmodell: Åpne lærebøker som markedsføringsmateriale og trafikk til "
"nettstedet ditt, der du kan tilby en relaterte tjeneste, og konvertere noen "
"til å bli en betalende kunde."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8398
msgid ""
"For Mark a key decision for Siyavula’s business was to focus on how they can "
"add value on top of their basic service. They’ll charge only if they are "
"adding unique value. The actual content of the textbook isn’t unique at all, "
"so Siyavula sees no value in locking it down and charging for it. Mark "
"contrasts this with traditional publishers who charge over and over again "
"for the same content without adding value."
msgstr ""
"For Mark var en viktig beslutning for forretningsdriften til Siyavula å "
"fokusere på hvordan de la verdi på toppen av sin grunnleggende tjeneste.  De "
"tar betalt kun hvis de legger til unik verdi.  Selve innholdet i læreboken "
"er overhodet ikke unikt, så Siyavula ser ikke poenget med å låse det ned og "
"ta betalt for det.  Mark nevner at dette er svært forskjellig fra hvordan "
"tradisjonelle forleggere tar betalt om og om igjen for det samme innholdet, "
"uten å legge til noen verdi av det."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8407
msgid ""
"Version two of Siyavula’s business model was a big, ambitious idea—scale up. "
"They also decided to sell the Intelligent Practice service to schools "
"directly. Schools can subscribe on a per-student, per-subject basis. A "
"single subscription gives a learner access to a single subject, including "
"practice content from every grade available for that subject. Lower "
"subscription rates are provided when there are over two hundred students, "
"and big schools have a price cap. A 40 percent discount is offered to "
"schools where both the science and math departments subscribe."
msgstr ""
"Versjon 2 av Siyavulas forretningsmodell var en stor, ambisiøse idé-"
"oppskalering. De besluttet også å selge tjenesten Intelligent Practice-"
"tjenesten direkte til skolene. Skolene kan abonnere på en pr. elev, pr. "
"emnebasis. Et enkelt abonnement gir en elev tilgang til ett enkelt emne, "
"inkludert tilgjengelig praksisinnhold for hvert klassetrinn for dette emnet. "
"Det tilbys lavere abonnementpriser når det er over to hundre studenter, og "
"store skoler har et pristak. 40 prosent rabatt tilbys skoler der både "
"naturfag- og matematikkavdelingene abonnerer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8418
msgid ""
"Teachers get a dashboard that allows them to monitor the progress of an "
"entire class or view an individual learner’s results. They can see the "
"questions that learners are working on, identify areas of difficulty, and be "
"more strategic in their teaching. Students also have their own personalized "
"dashboard, where they can view the sections they’ve practiced, how many "
"points they’ve earned, and how their performance is improving."
msgstr ""
"Lærere får et skjermbilde som tillater dem å overvåke fremdriften for en hel "
"klasse eller vise en enkeltelevs resultater. De kan se spørsmål som elevene "
"arbeider med, identifisere problemer og være mer strategiske i "
"undervisningen. Elevene har også sitt eget personlige skjermbilde, hvor de "
"kan vise seksjonene de har brukt, hvor mange poeng de har tjent, og hvordan "
"ytelsen deres blir bedret."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8427
msgid ""
"Based on the success of this effort, Siyavula decided to substantially "
"increase the production of open educational resources so they could provide "
"the Intelligent Practice service for a wider range of books. Grades 10 to 12 "
"math and science books were reworked each year, and new books created for "
"grades 4 to 6 and later grades 7 to 9."
msgstr ""
"Basert på suksessen med dette arbeidet, besluttet Siyavula å øke "
"produksjonen av åpne pedagogiske ressurser slik at de kunne levere tjenesten "
"Intelligent Practice for et bredere tilbud av bøker. Bøkene for 10 til 12 "
"klasse i matematikk og realfag ble omarbeidet hvert år, og nye bøker laget "
"for klassen 4 til 6 og senere for klasse 7 til 9."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8438
msgid "<ulink url=\"http://www.siyavula.com/products-primary-school.html\"/>"
msgstr "<ulink url=\"http://www.siyavula.com/products-primary-school.html\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8435
msgid ""
"In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula "
"produced a series of natural sciences and technology workbooks for grades 4 "
"to 6 called Thunderbolt Kids that uses a fun comic-book style.<placeholder "
"type=\"footnote\" id=\"0\"/> It’s a complete curriculum that also comes with "
"teacher’s guides and other resources."
msgstr ""
"I samarbeid med, og sponset av Sasol Inzalo Foundation, har Siyavula "
"produsert en rekke arbeidsbøker for naturvitenskap og teknologi for 4 til 6 "
"klasse, kalt Thunderbolt Kids som bruker en morsom tegneseriestil."
"<placeholder type=\"footnote\" id=\"0\"/> Det er et komplett pensum som også "
"har med lærerens veiledninger og andre ressurser."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8442
msgid ""
"Through this experience, Siyavula learned they could get sponsors to help "
"fund openly licensed textbooks. It helped that Siyavula had by this time "
"nailed the production model. It cost roughly $150,000 to produce a book in "
"two languages. Sponsors liked the social-benefit aspect of textbooks "
"unlocked via a Creative Commons license. They also liked the exposure their "
"brand got. For roughly $150,000, their logo would be visible on books "
"distributed to over one million students."
msgstr ""
"Gjennom denne erfaringen lærte Siyavula at de kunne få sponsorer til å "
"finansiere åpent lisensierte lærebøker. Det hjalp at Siyavula på denne tiden "
"hadde spikret produksjonsmodellen. Det koster omtrent 150 000 dollar å "
"produsere en bok på to språk. Sponsorer likte den sosiale nytten av "
"lærebøker låst opp med en Creative Commons-lisens. De likte også "
"eksponeringen deres merkevare fikk. For omtrent 150 000 dollar vil logoen "
"deres være synlig på bøker distribuert til over en million elever."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8452
msgid ""
"The Siyavula books that are reviewed, approved, and branded by the "
"government are freely and openly available on Siyavula’s website under an "
"Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books "
"cannot be modified. Non-government-branded books are available under an "
"Attribution license (CC BY), allowing others to modify and redistribute the "
"books."
msgstr ""
"Siyavula-bøkene, gjennomgått, godkjent og merket av regjeringen, er fritt og "
"åpent tilgjengelig på Siyavulas hjemmeside under en Attribution-NoDerivs-"
"lisens (CC BY-ND) - NoDerives betyr at disse bøkene ikke kan endres. Ikke-"
"regjeringsmerkede bøker er tilgjengelige med en Attribution-lisens (CC BY), "
"slik at andre kan modifisere og redistribuere bøkene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8460
msgid ""
"Although the South African government paid to print and distribute hard "
"copies of the books to schoolkids, Siyavula itself received no funding from "
"the government. Siyavula initially tried to convince the government to "
"provide them with five rand per book (about US35¢). With those funds, Mark "
"says that Siyavula could have run its entire operation, built a community-"
"based model for producing more books, and provide Intelligent Practice for "
"free to every child in the country. But after a lengthy negotiation, the "
"government said no."
msgstr ""
"Selv om den sørafrikanske regjeringen betalte for å trykke og distribuere "
"papirkopier av bøkene til skolebarn, mottok ikke Siyavula selv noen "
"finansiering fra regjeringen. Siyavula prøvde først å overbevise "
"myndighetene om å gi dem fem rand pr. bok (omkring 35 US cent). Med disse "
"pengene, sier Mark, at Siyavula kunne ha kjørt hele operasjonen, bygget en "
"fellesskapsbasert modell for å produsere flere bøker, og gi Intelligent "
"Practice til alle barn i landet. Men etter å ha forhandlet lenge,  sa "
"regjeringen nei."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8471
msgid ""
"Using Siyavula books generated huge savings for the government.  Providing "
"students with a traditionally published grade 12 science or math textbook "
"costs around 250 rand per book (about US$18).  Providing the Siyavula "
"version cost around 36 rand (about $2.60), a savings of over 200 rand per "
"book. But none of those savings were passed on to Siyavula. In retrospect, "
"Mark thinks this may have turned out in their favor as it allowed them to "
"remain independent from the government."
msgstr ""
"Å bruke Siyavula-bøker genererte store besparelser for regjeringen. Å gi "
"elevene en tradisjonelt publisert lærebok for 12 klasse i naturfag eller "
"matte koster rundt 250 rand pr. bok (rundt 18 US dollar).  Å gi eleven "
"Siyavula-versjonen koster rundt 36 rand (ca 2,60 dollar), en besparelse på "
"over 200 rand pr. bok. Men ingen av disse besparelsene ble gitt videre til "
"Siyavula. I ettertid mener Mark at dette kan ha slått ut i deres egen favør, "
"ettersom det tillot dem å forbli uavhengige av regjeringen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8481
msgid ""
"Just as Siyavula was planning to scale up the production of open textbooks "
"even more, the South African government changed its textbook policy. To save "
"costs, the government declared there would be only one authorized textbook "
"for each grade and each subject. There was no guarantee that Siyavula’s "
"would be chosen.  This scared away potential sponsors."
msgstr ""
"Akkurat da Siyavula planla å skalere opp produksjon av åpne lærebøker enda "
"mer, endret den sørafrikanske regjeringen sin lærebokpolitikk. For å spare "
"kostnader erklærte regjeringen det bare ville være en eneste autorisert "
"lærebok for hver klasse og hvert emne. Det var ingen garanti for at "
"Siyavulas ville bli valgt.  Dette skremte bort mulige sponsorer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8489
msgid ""
"Rather than producing more textbooks, Siyavula focused on improving its "
"Intelligent Practice technology for its existing books. Mark calls this "
"version three of Siyavula’s business model—focusing on the technology that "
"provides the revenue-generating service and generating more users of this "
"service. Version three got a significant boost in 2014 with an investment by "
"the Omidyar Network (the philanthropic venture started by eBay founder "
"Pierre Omidyar and his spouse), and continues to be the model Siyavula uses "
"today."
msgstr ""
"I stedet for å produsere flere lærebøker, fokuserte Siyavula på å forbedre "
"sin Intelligent Practice-teknologi til sine eksisterende bøker. Mark kaller "
"denne versjonen tre av Siyavulas forretningsmodell – fokus på teknologi som "
"gir tjenesten inntekter, og gir flere brukere av denne tjenesten. Versjon 3 "
"økte betydelig i 2014 etter en investering av Omidyar Network (med "
"filantropisk risikokapital startet av eBay-grunnlegger Pierre Omidyar og "
"hans ektefelle), og fortsetter å være den modellen Siyavula bruker i dag."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8500
msgid ""
"Mark says sales are way up, and they are really nailing Intelligent "
"Practice. Schools continue to use their open textbooks. The government-"
"announced policy that there would be only one textbook per subject turned "
"out to be highly contentious and is in limbo."
msgstr ""
"Mark sier salget er på vei oppover, og de er virkelig festet til Intelligent "
"Practice. Skolene fortsetter å bruke sine åpne lærebøker. Politikken "
"regjeringen kunngjorde, at det bare skulle være en lærebok pr. fag, viste "
"seg å være svært omstridt, og svever i uvisshet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8507
msgid ""
"Siyavula is exploring a range of enhancements to their business model. These "
"include charging a small amount for assessment services provided over the "
"phone, diversifying their market to all English-speaking countries in "
"Africa, and setting up a consortium that makes Intelligent Practice free to "
"all kids by selling the nonpersonal data Intelligent Practice collects."
msgstr ""
"Siyavula utforsker en rekke forbedringer av sin forretningsmodell. Disse "
"inkluderer betaling av et lite beløp for vurderingstjenester over telefon, "
"diversifisering (spredning) av markedet sitt til alle engelsktalende land i "
"Afrika, og å sette opp et konsortium som gjør Intelligent Practice gratis "
"til alle barn ved å selge ikke-personlige data som samles av Intelligent "
"Practice."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8515
msgid ""
"Siyavula is a for-profit business but one with a social mission.  Their "
"shareholders’ agreement lists lots of requirements around openness for "
"Siyavula, including stipulations that content always be put under an open "
"license and that they can’t charge for something that people volunteered to "
"do for them. They believe each individual should have access to the "
"resources and support they need to achieve the education they deserve. "
"Having educational resources openly licensed with Creative Commons means "
"they can fulfill their social mission, on top of which they can build "
"revenue-generating services to sustain the ongoing operation of Siyavula. In "
"terms of open business models, Mark and Siyavula may have been around the "
"block a few times, but both he and the company are stronger for it."
msgstr ""
"Siyavula er et foretak for fortjeneste, men med sosiale oppgaver. Deres "
"aksjeeieravtale lister mange krav om åpenhet for Siyavula, inkludert krav om "
"at innholdet alltid legges inn under en åpen lisens, og at de ikke tar "
"betalt for noe som folk frivillig gjør for dem. De mener at den enkelte skal "
"ha tilgang til de ressurser og den støtte de trenger for å få  utdanningen "
"de fortjener. Å har læringsressurser åpent lisensiert med Creative Commons "
"betyr at de kan oppfylle sin sosiale oppgave, i tillegg til at de kan de "
"bygge inntektsgivende tjenester for å opprettholde kontinuerlig drift av "
"Siyavula. I åpne forretningsmodeller har Mark og Siyavula måttet gå noen "
"runder noen ganger, men både han og selskapet er blitt sterkere av det."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8531
msgid "SparkFun"
msgstr "SparkFun"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8534
msgid ""
"SparkFun is an online electronics retailer specializing in open hardware. "
"Founded in 2003 in the U.S."
msgstr ""
"SparkFun er en nettbasert elektronikkforhandler som spesialiserer seg på "
"åpen maskinvare. Grunnlagt i 2003 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8538
msgid "<ulink url=\"http://www.sparkfun.com\"/>"
msgstr "<ulink url=\"http://www.sparkfun.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8540
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies (electronics sales)"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for fysiske "
"kopier (elektroniske salg)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8543
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 29, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 29. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8546
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Nathan Seidle, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Nathan Seidle, grunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8554
msgid ""
"SparkFun founder and former CEO Nathan Seidle has a picture of himself "
"holding up a clone of a SparkFun product in an electronics market in China, "
"with a huge grin on his face. He was traveling in China when he came across "
"their LilyPad wearable technology being made by someone else. His reaction "
"was glee."
msgstr ""
"SparkFuns grunnlegger og tidligere administrerende direktør Nathan Seidle "
"har et bilde av seg selv med et stort smilende ansikt, der han holder opp en "
"klone av et SparkFun-produkt på et elektronikkmarked i Kina. Han var på "
"reise i Kina da han kom over deres LilyPad bærbarteknologi laget av noen "
"andre. Hans reaksjon var fryd."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8560
#, fuzzy
#| msgid ""
#| "“Being copied is the greatest earmark of flattery and success,” Nathan "
#| "said. “I thought it was so cool that they were selling to a market we "
#| "were never going to get access to otherwise. It was evidence of our "
#| "impact on the world.”"
msgid ""
"<quote>Being copied is the greatest earmark of flattery and success,</quote> "
"Nathan said. <quote>I thought it was so cool that they were selling to a "
"market we were never going to get access to otherwise. It was evidence of "
"our impact on the world.</quote>"
msgstr ""
"<quote>Å bli kopiert er det største kjennetegnet på smiger og suksess</"
"quote>, sa Nathan. <quote>Jeg tenkte at det var utrolig stilig at de solgte "
"til et marked vi aldri ellers kom til å nå ut til. Det var et bevis på "
"hvordan vi påvirket verden</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8566
msgid ""
"This worldview runs through everything SparkFun does. SparkFun is an "
"electronics manufacturer. The company sells its products directly to the "
"public online, and it bundles them with educational tools to sell to schools "
"and teachers. SparkFun applies Creative Commons licenses to all of its "
"schematics, images, tutorial content, and curricula, so anyone can make "
"their products on their own. Being copied is part of the design."
msgstr ""
"Dette syn på verden preger alt SparkFun gjør. SparkFun er en "
"elektronikkprodusent. Selskapet selger sine produkter direkte til publikum "
"på nettet, og fyller dem med pedagogiske verktøy for å selge til skoler og "
"lærere. SparkFun bruker Creative Commons-lisenser til alle skjemaer, bilder, "
"opplæringsinnhold og læreplaner, slik at alle kan lage sine produkter på "
"egenhånd. Å bli kopiert er en del av designet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8575
#, fuzzy
#| msgid ""
#| "Nathan believes open licensing is good for the world. “It touches on our "
#| "natural human instinct to share,” he said. But he also strongly believes "
#| "it makes SparkFun better at what they do. They encourage copying, and "
#| "their products are copied at a very fast rate, often within ten to twelve "
#| "weeks of release. This forces the company to compete on something other "
#| "than product design, or what most commonly consider their intellectual "
#| "property."
msgid ""
"Nathan believes open licensing is good for the world. <quote>It touches on "
"our natural human instinct to share,</quote> he said.  But he also strongly "
"believes it makes SparkFun better at what they do. They encourage copying, "
"and their products are copied at a very fast rate, often within ten to "
"twelve weeks of release.  This forces the company to compete on something "
"other than product design, or what most commonly consider their intellectual "
"property."
msgstr ""
"Nathan mener at åpen lisensiering er bra for verden. <quote>Det berører vårt "
"naturlige menneskelige instinkt å dele</quote>, sa han. Men han mener også "
"sterkt at det gjør SparkFun bedre på hva de gjør. De oppfordrer til "
"kopiering, og deres produkter er kopiert med stor hastighet, ofte innen ti-"
"tolv uker etter utgivelsen. Dette tvinger selskapet til å konkurrere på noe "
"annet enn produktdesign, eller hva de vanligvis vurderer som sitt åndsverk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8584
#, fuzzy
#| msgid ""
#| "“We compete on business principles,” Nathan said. “Claiming your "
#| "territory with intellectual property allows you to get comfy and rest on "
#| "your laurels. It gives you a safety net. We took away that safety net.”"
msgid ""
"<quote>We compete on business principles,</quote> Nathan said.  "
"<quote>Claiming your territory with intellectual property allows you to get "
"comfy and rest on your laurels. It gives you a safety net. We took away that "
"safety net.</quote>"
msgstr ""
"<quote>Vi konkurrerer på forretningsprinsipper</quote>, hevder Nathan. "
"<quote>Å hevde territorium med immaterielle rettigheter tillater en "
"komfortabel hvile på sine laurbær. Det gir deg et sikkerhetsnett. Vi tok "
"bort det sikkerhetsnettet</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8590
#, fuzzy
#| msgid ""
#| "The result is an intense company-wide focus on product development and "
#| "improvement. “Our products are so much better than they were five years "
#| "ago,” Nathan said. “We used to just sell products. Now it’s a product "
#| "plus a video, a seventeen-page hookup guide, and example firmware on "
#| "three different platforms to get you up and running faster. We have "
#| "gotten better because we had to in order to compete. As painful as it is "
#| "for us, it’s better for the customers.”"
msgid ""
"The result is an intense company-wide focus on product development and "
"improvement. <quote>Our products are so much better than they were five "
"years ago,</quote> Nathan said. <quote>We used to just sell products. Now "
"it’s a product plus a video, a seventeen-page hookup guide, and example "
"firmware on three different platforms to get you up and running faster. We "
"have gotten better because we had to in order to compete. As painful as it "
"is for us, it’s better for the customers.</quote>"
msgstr ""
"Resultatet er et intenst fokus i hele firmaet på produktutvikling og "
"forbedring. <quote>Våre produkter er så mye bedre enn de var fem år siden</"
"quote>, sier Nathan. <quote>Vi pleide å bare selge produkter. Nå er det et "
"produkt pluss en video, sytten siders oppkoblingsveiledning', og eksempel på "
"maskinvare til tre forskjellige plattformer for å få ting opp å gå raskere. "
"Vi har blitt bedre fordi vi måtte, for å kunne konkurrere. Likefullt "
"smertefullt det er for oss, kommer det kundene til gode</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8600
#, fuzzy
#| msgid ""
#| "SparkFun parts are available on eBay for lower prices. But people come "
#| "directly to SparkFun because SparkFun makes their lives easier. The "
#| "example code works; there is a service number to call; they ship "
#| "replacement parts the day they get a service call. They invest heavily in "
#| "service and support. “I don’t believe businesses should be competing with "
#| "IP [intellectual property] barriers,” Nathan said. “This is the stuff "
#| "they should be competing on.”"
msgid ""
"SparkFun parts are available on eBay for lower prices. But people come "
"directly to SparkFun because SparkFun makes their lives easier. The example "
"code works; there is a service number to call; they ship replacement parts "
"the day they get a service call. They invest heavily in service and support. "
"<quote>I don’t believe businesses should be competing with IP [intellectual "
"property] barriers,</quote> Nathan said. <quote>This is the stuff they "
"should be competing on.</quote>"
msgstr ""
"SparkFun er tilgjengelig på eBay til lavere priser. Men folk kommer direkte "
"til SparkFun fordi SparkFun gjør livet enklere. Eksempelkoden fungerer. Det "
"er et servicenummer å ringe; de sender erstatningsdeler samme dag som de får "
"en servicehenvendelse. De investerer tungt i service og støtte. <quote>Jeg "
"mener bedrifter ikke bør benytte immaterielle rettighetsbarrierer når de "
"konkurrerer</quote>, sier Nathan. <quote>Dette er det de bør konkurrere om</"
"quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8610
#, fuzzy
#| msgid ""
#| "SparkFun’s company history began in Nathan’s college dorm room. He spent "
#| "a lot of time experimenting with and building electronics, and he "
#| "realized there was a void in the market. “If you wanted to place an order "
#| "for something,” he said, “you first had to search far and wide to find "
#| "it, and then you had to call or fax someone.” In 2003, during his third "
#| "year of college, he registered <ulink url=\"http://sparkfun.com\"/> and "
#| "started reselling products out of his bedroom. After he graduated, he "
#| "started making and selling his own products."
msgid ""
"SparkFun’s company history began in Nathan’s college dorm room. He spent a "
"lot of time experimenting with and building electronics, and he realized "
"there was a void in the market. <quote>If you wanted to place an order for "
"something,</quote> he said, <quote>you first had to search far and wide to "
"find it, and then you had to call or fax someone.</quote> In 2003, during "
"his third year of college, he registered <ulink url=\"http://sparkfun.com\"/"
"> and started reselling products out of his bedroom. After he graduated, he "
"started making and selling his own products."
msgstr ""
"Historen til selskapet Sparkfun startet på studenthybelen til Nathan. Han "
"tilbrakte mye tid med å eksperimentere med og bygge elektronikk, og han "
"skjønte det var et hull i markedet. <quote>Hvis du ønsket å bestille noe</"
"quote>, sa han, <quote>måtte du først søke vidt og bredt for å finne det, og "
"deretter måtte du ringe eller fakse noen</quote>. I 2003, i sitt tredje år "
"på college, registrerte han <ulink url=\"http://sparkfun.com\"/>, og startet "
"med videresalg av produkter fra soverommet sitt. Etter at han ble "
"uteksaminert, begynte han å lage og selge sine egne produkter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8622
#, fuzzy
#| msgid ""
#| "Once he started designing his own products, he began putting the software "
#| "and schematics online to help with technical support.  After doing some "
#| "research on licensing options, he chose Creative Commons licenses because "
#| "he was drawn to the “human-readable deeds” that explain the licensing "
#| "terms in simple terms. SparkFun still uses CC licenses for all of the "
#| "schematics and firmware for the products they create."
msgid ""
"Once he started designing his own products, he began putting the software "
"and schematics online to help with technical support.  After doing some "
"research on licensing options, he chose Creative Commons licenses because he "
"was drawn to the <quote>human-readable deeds</quote> that explain the "
"licensing terms in simple terms.  SparkFun still uses CC licenses for all of "
"the schematics and firmware for the products they create."
msgstr ""
"Så snart han startet med å designe sine egne produkter, la la han ut "
"programvaren og skjemaer på nettet for å hjelpe til med teknisk "
"kundestøtte.  Etter noen undersøkelser om lisensbetingelser, valgte han "
"Creative Commons-lisenser fordi han hadde sans for <quote>avtaler som var "
"leselige for mennesker</quote> og som forklarte lisensvilkårene i klartekst. "
"SparkFun bruker fortsatt CC-lisenser for alle skjemaer og maskinvare til "
"produktene de lager."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8631
msgid ""
"The company has grown from a solo project to a corporation with 140 "
"employees. In 2015, SparkFun earned $33 million in revenue.  Selling "
"components and widgets to hobbyists, professionals, and artists remains a "
"major part of SparkFun’s business. They sell their own products, but they "
"also partner with Arduino (also profiled in this book) by manufacturing "
"boards for resale using Arduino’s brand."
msgstr ""
"Selskapet har vokst fra et soloprosjekt til et konsern med 140 medarbeidere. "
"I 2015 hadde SparkFun 33 millioner dollar i inntekter.  Å selge komponenter "
"og dingser til hobbyformål, profesjonelle, og kunstnere er fortsatt en "
"viktig del av Sparkfuns virksomhet. De selger sine egne produkter, men de "
"samarbeider også  med Arduino (også presentert i denne boken) med produksjon "
"av brett for videresalg under Arduinos merke."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8640
msgid ""
"SparkFun also has an educational department dedicated to creating a hands-on "
"curriculum to teach students about electronics using prototyping parts. "
"Because SparkFun has always been dedicated to enabling others to re-create "
"and fix their products on their own, the more recent focus on introducing "
"young people to technology is a natural extension of their core business."
msgstr ""
"SparkFun har også en utdanningsavdeling som har til oppgave å fokusere på å "
"lage en helt konkret læreplan for å lære elevene om elektronikk ved å bruke "
"prototype-deler. Fordi SparkFun alltid har vært konsentrert om å gjøre andre "
"i stand til å gjenskape og reparere sine produkter på egenhånd, er det "
"senere fokuset på å innføre unge i teknologi en naturlig forlengelse av "
"kjernevirksomheten."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8647
#, fuzzy
#| msgid ""
#| "“We have the burden and opportunity to educate the next generation of "
#| "technical citizens,” Nathan said. “Our goal is to affect the lives of "
#| "three hundred and fifty thousand high school students by 2020.”"
msgid ""
"<quote>We have the burden and opportunity to educate the next generation of "
"technical citizens,</quote> Nathan said. <quote>Our goal is to affect the "
"lives of three hundred and fifty thousand high school students by 2020.</"
"quote>"
msgstr ""
"<quote>Vi har byrden og muligheten til å utdanne den neste generasjonen av "
"tekniske borgere</quote>, sier Nathan. <quote>Vårt mål er å påvirke livene "
"til tre hundre og femti tusen videregående elever i 2020</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8653
#, fuzzy
#| msgid ""
#| "The Creative Commons license underlying all of SparkFun’s products is "
#| "central to this mission. The license not only signals a willingness to "
#| "share, but it also expresses a desire for others to get in and tinker "
#| "with their products, both to learn and to make their products better. "
#| "SparkFun uses the Attribution-ShareAlike license (CC BY-SA), which is a "
#| "“copyleft” license that allows people to do anything with the content as "
#| "long as they provide credit and make any adaptations available under the "
#| "same licensing terms."
msgid ""
"The Creative Commons license underlying all of SparkFun’s products is "
"central to this mission. The license not only signals a willingness to "
"share, but it also expresses a desire for others to get in and tinker with "
"their products, both to learn and to make their products better. SparkFun "
"uses the Attribution-ShareAlike license (CC BY-SA), which is a "
"<quote>copyleft</quote> license that allows people to do anything with the "
"content as long as they provide credit and make any adaptations available "
"under the same licensing terms."
msgstr ""
"At Creative Commons-lisensen ligger under alle Sparkfuns produkter, er "
"sentralt i dette oppdraget. Lisensen signaliserer ikke bare en vilje til å "
"dele, men det uttrykker også et ønske om at andre går inn og flikker med "
"deres produkter, både for å lære, og å lage produktene deres bedre. SparkFun "
"bruker Attribution-ShareAlike-lisens (CC BY-SA), som er en <quote>copyleft</"
"quote>-lisens som tillater folk å gjøre hva som helst med innholdet, så "
"lenge de gir henvisning, og gjør eventuelle tilpasninger tilgjengelige under "
"de samme lisensvilkårene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8664
msgid ""
"From the beginning, Nathan has tried to create a work environment at "
"SparkFun that he himself would want to work in. The result is what appears "
"to be a pretty fun workplace. The U.S. company is based in Boulder, "
"Colorado. They have an eighty-thousand-square-foot facility (approximately "
"seventy-four-hundred square meters), where they design and manufacture their "
"products. They offer public tours of the space several times a week, and "
"they open their doors to the public for a competition once a year."
msgstr ""
"Fra begynnelsen har Nathan forsøkt å lage et arbeidsmiljø hos SparkFun som "
"han selv ønsker å arbeide i. Resultatet er hva som synes å være en ganske "
"morsom arbeidsplass. Det amerikanske selskapet ligger i Boulder, Colorado. "
"De har et åttitusen kvadratfot stort anlegg (omtrent syvtusenfirehundre "
"kvadratmeter), der de designer og produserer sine produkter. De tilbyr "
"publikum turer i anlegget flere ganger i uken, og de åpner sine dører for "
"publikum til en konkurranse en gang i året."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8675
msgid ""
"The public event, called the Autonomous Vehicle Competition, brings in a "
"thousand to two thousand customers and other technology enthusiasts from "
"around the area to race their own self-created bots against each other, "
"participate in training workshops, and socialize. From a business "
"perspective, Nathan says it’s a terrible idea. But they don’t hold the event "
"for business reasons. <quote>The reason we do it is because I get to travel "
"and have interactions with our customers all the time, but most of our "
"employees don’t,</quote> he said. <quote>This event gives our employees the "
"opportunity to get face-to-face contact with our customers.</quote> The "
"event infuses their work with a human element, which makes it more "
"meaningful."
msgstr ""
"Denne åpne samlingen kalles «Autonomous Vehicle Competition» (Selvstyrt "
"kjøretøyskonkurranse), og samler mellom tusen og to tusen kunder og andre "
"teknologientusiaster fra området rundt, til å kjøre sine egne selvlagde "
"roboter mot hverandre, delta på treningsverksteder, samt bli kjent. Fra et "
"forretningsperspektiv, sier Nathan at dette er en forferdelig idé. Men de "
"arrangerer ikke samlingen i forretningsøyemed. <quote>Grunnen til at vi gjør "
"det, er fordi jeg får reise og ha kontakt med kundene våre hele tiden, mens "
"de fleste av våre ansatte får ikke det.</quote> <quote>Denne hendelsen gir "
"ansatte mulighet til å få kontakt ansikt til ansikt med kundene våre.</"
"quote> Samlingen gir arbeidet deres et menneskelig element, noe som gjør den "
"mer meningsfylt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8689
msgid ""
"Nathan has worked hard to imbue a deeper meaning into the work SparkFun "
"does. The company is, of course, focused on being fiscally responsible, but "
"they are ultimately driven by something other than money. <quote>Profit is "
"not the goal; it is the outcome of a well-executed plan,</quote> Nathan "
"said. <quote>We focus on having a bigger impact on the world.</quote> Nathan "
"believes they get some of the brightest and most amazing employees because "
"they aren’t singularly focused on the bottom line."
msgstr ""
"Nathan har jobbet hardt for å gi en dypere mening i arbeidet SparkFun gjør. "
"Selskapet er selvfølgelig fokusert på finansiell ansvarlighet, men er når "
"alt kommer til alt drevet av noe annet enn penger. <quote>Fortjeneste er "
"ikke målet. Det er resultatet av en godt gjennomført plan</quote>, sier "
"Nathan.<quote> Vårt fokus er større innvirkning på verden.</quote> Nathan "
"mener de tilegner seg noen av de smarteste og mest fantastiske ansatte fordi "
"de ikke bare fokuserer på bunnlinjen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8699
msgid ""
"The company is committed to transparency and shares all of its financials "
"with its employees. They also generally strive to avoid being another "
"soulless corporation. They actively try to reveal the humans behind the "
"company, and they work to ensure people coming to their site don’t find only "
"unchanging content."
msgstr ""
"Selskapet er forpliktet til åpenhet, og deler alle sine økonomiopplysninger "
"med sine ansatte. De ønsker også generelt å unngå å bli en annen sjelløs "
"bedrift. De prøver aktivt å vise menneskene bak selskapet, og de arbeider "
"for å sikre at folk ikke bare finner et uforanderlig innhold når de kommer "
"til nettområdet deres."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8706
#, fuzzy
#| msgid ""
#| "SparkFun’s customer base is largely made up of industrious electronics "
#| "enthusiasts. They have customers who are regularly involved in the "
#| "company’s customer support, independently responding to questions in "
#| "forums and product-comment sections.  Customers also bring product ideas "
#| "to the company. SparkFun regularly sifts through suggestions from "
#| "customers and tries to build on them where they can. “From the beginning, "
#| "we have been listening to the community,” Nathan said. “Customers would "
#| "identify a pain point, and we would design something to address it.”"
msgid ""
"SparkFun’s customer base is largely made up of industrious electronics "
"enthusiasts. They have customers who are regularly involved in the company’s "
"customer support, independently responding to questions in forums and "
"product-comment sections.  Customers also bring product ideas to the "
"company. SparkFun regularly sifts through suggestions from customers and "
"tries to build on them where they can. <quote>From the beginning, we have "
"been listening to the community,</quote> Nathan said.  <quote>Customers "
"would identify a pain point, and we would design something to address it.</"
"quote>"
msgstr ""
"Sparkfuns kundebase består hovedsakelig av flittige elektronikkentusiaster. "
"De har kunder som er i regelmessig kontakt med selskapets kundeservice, og "
"på egen hånd svarer på spørsmål i fora og seksjonene med "
"produktkommentarer.  Kunder bringer også produktideer til selskapet. "
"SparkFun går regelmessig igjennom forslag fra kunder, og forsøker å bygge på "
"dem der de kan. <quote>Fra begynnelsen har vi lyttet til fellesskapet</"
"quote>, sa Nathan. <quote>Kundene vil identifisere et smertepunkt, og vi "
"vil  designe noe for å ta oss av det</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8718
msgid ""
"However, this sort of customer engagement does not always translate to "
"people actively contributing to SparkFun’s projects.  The company has a "
"public repository of software code for each of its devices online. On a "
"particularly active project, there will only be about two dozen people "
"contributing significant improvements. The vast majority of projects are "
"relatively untouched by the public. <quote>There is a theory that if you "
"open-source it, they will come,</quote> Nathan said. <quote>That’s not "
"really true.</quote>"
msgstr ""
"Men denne typen kundedeltakelse fører ikke alltid til at folk aktivt bidrar "
"til Sparkfuns prosjekter.  Selskapet har en felles kildebrønn med "
"programvarekode på nettet til hver av sine enheter. I et spesielt aktivt "
"prosjekt vil det bare være rundt to dusin mennesker som bidrar med "
"betydelige forbedringer. Den store majoriteten av prosjekter er relativt "
"uberørt av publikum. <quote>Det er en teori om at hvis du bruker fri "
"programmvare, så kommer folk til deg</quote>, sa Nathan. <quote>Det er i "
"virkeligheten ikke riktig.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8729
msgid ""
"Rather than focusing on cocreation with their customers, SparkFun instead "
"focuses on enabling people to copy, tinker, and improve products on their "
"own. They heavily invest in tutorials and other material designed to help "
"people understand how the products work so they can fix and improve things "
"independently. <quote>What gives me joy is when people take open-source "
"layouts and then build their own circuit boards from our designs,</quote> "
"Nathan said."
msgstr ""
"Heller enn å fokusere på å lage ting sammen med sine kunder, fokuserer "
"SparkFun i stedet på å få folk til å kopiere, fikse, og forbedre produktene "
"på egen hånd. De investerer tungt i veiledninger og annet materiale som "
"hjelper folk å forstå hvordan produktene fungerer, slik at de selv kan fikse "
"og forbedre ting. <quote>Det gir meg glede når folk tar et oppsett fra fri "
"programvare, og deretter bygger sine egne kretskort basert på vår utforming</"
"quote>, sier Nathan."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8739
msgid ""
"Obviously, opening up the design of their products is a necessary step if "
"their goal is to empower the public. Nathan also firmly believes it makes "
"them more money because it requires them to focus on how to provide maximum "
"value. Rather than designing a new product and protecting it in order to "
"extract as much money as possible from it, they release the keys necessary "
"for others to build it themselves and then spend company time and resources "
"on innovation and service. From a short-term perspective, SparkFun may lose "
"a few dollars when others copy their products. But in the long run, it makes "
"them a more nimble, innovative business. In other words, it makes them the "
"kind of company they set out to be."
msgstr ""
"Selvfølgelig er å åpne designet av produktene deres nødvendig hvis målet "
"deres er å gi offentligheten større innflytelse. Nathan mener bestemt at det "
"gir dem større inntekter, fordi det krever at de fokuserer på hvordan de kan "
"levere maksimal verdi. I stedet for å designe et nytt produkt og beskytte "
"det, for å trekke ut så mye penger som mulig, gir de fra seg de nøklene som "
"skal til for at andre kan bygge det selv, og bruker deretter selskapets tid "
"og ressurser på innovasjon og service. I et kortsiktig perspektiv kan "
"SparkFun miste et par dollar når andre kopierer deres produkter. Men i det "
"lange løp gjør det dem til en kvikkere, mer innovativ bedrift. Med andre "
"ord, det gjør dem til et slikt selskapet de har satt seg fore å være."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8753
msgid "TeachAIDS"
msgstr "TeachAIDS"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8756
msgid ""
"TeachAIDS is a nonprofit that creates educational materials designed to "
"teach people around the world about HIV and AIDS.  Founded in 2005 in the U."
"S."
msgstr ""
"TeachAIDS er et nonprofit selskap som lager pedagogisk materiell for å lære "
"folk over hele verden om HIV og AIDS.  Grunnlagt i 2005 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8761
msgid "<ulink url=\"http://teachaids.org\"/>"
msgstr "<ulink url=\"http://teachaids.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8763
msgid "<emphasis role=\"strong\">Revenue model</emphasis>: sponsorships"
msgstr "<emphasis role=\"strong\">Inntektsmodell</emphasis>: Sponsing"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8765
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 24, 2016"
msgstr "<emphasis role=\"strong\">Intervjudato</emphasis>: 24. mars 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8768
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Piya Sorcar, the CEO, and "
"Shuman Ghosemajumder, the chair"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Piya Sorcar, "
"administrerende direktør, og Shuman Ghosemajumder, styret"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8776
msgid ""
"TeachAIDS is an unconventional media company with a conventional revenue "
"model. Like most media companies, they are subsidized by advertising. "
"Corporations pay to have their logos appear on the educational materials "
"TeachAIDS distributes."
msgstr ""
"TeachAIDS er et ukonvensjonelt medieselskap med en konvensjonell "
"inntektsmodell. Som de fleste medieselskaper er de subsidiert med reklame. "
"Selskaper betaler for å ha sine logoer på utdanningsmaterialet som TeachAIDS "
"distribuerer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8782
msgid ""
"But unlike most media companies, Teach-AIDS is a nonprofit organization with "
"a purely social mission. TeachAIDS is dedicated to educating the global "
"population about HIV and AIDS, particularly in parts of the world where "
"education efforts have been historically unsuccessful. Their educational "
"content is conveyed through interactive software, using methods based on the "
"latest research about how people learn. TeachAIDS serves content in more "
"than eighty countries around the world. In each instance, the content is "
"translated to the local language and adjusted to conform to local norms and "
"customs. All content is free and made available under a Creative Commons "
"license."
msgstr ""
"Men i motsetning til de fleste medieselskaper, er TeachAIDS er en ideell "
"organisasjon med en rent sosial misjon. TeachAIDS er dedikert til å utdanne "
"den globale befolkningen om HIV og AIDS, spesielt i deler av verden hvor "
"utdanninginnsats historisk har vært mislykket. Utdanningsinnholdet deres "
"formidles med interaktiv programvare som bruker metoder basert på den nyeste "
"forskningen om hvordan folk lærer. TeachAIDS gir innhold til mer enn åtti "
"land over hele verden. I hvert tilfelle er innholdet oversatt til det lokale "
"språket og tilpasset for å samsvare med lokale normer og skikker. Alt "
"innhold er gratis og gjort tilgjengelig under en Creative Commons-lisens."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8795
msgid ""
"TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a "
"salary of one dollar per year from the nonprofit. The project grew out of "
"research she was doing while pursuing her doctorate at Stanford University. "
"She was reading reports about India, noting it would be the next hot zone of "
"people living with HIV. Despite international and national entities pouring "
"in hundreds of millions of dollars on HIV-prevention efforts, the reports "
"showed knowledge levels were still low. People were unaware of whether the "
"virus could be transmitted through coughing and sneezing, for instance. "
"Supported by an interdisciplinary team of experts at Stanford, Piya "
"conducted similar studies, which corroborated the previous research. They "
"found that the primary cause of the limited understanding was that HIV, and "
"issues relating to it, were often considered too taboo to discuss "
"comprehensively. The other major problem was that most of the education on "
"this topic was being taught through television advertising, billboards, and "
"other mass-media campaigns, which meant people were only receiving bits and "
"pieces of information."
msgstr ""
"TeachAIDS bygger på nestekjærligheten til grunnlegger og administrerende "
"direktør Piya Sorcar, som lønnes med en dollar i året i dette ideelle "
"foretaket. Prosjektet vokste ut fra forskning hun utførte mens hun arbeidet "
"med sin doktorgrad ved Stanford University. Hun leste rapporter om India, og "
"merket seg at det ville bli det neste vekstområdet for mennesker med HIV. "
"Til tross for at internasjonale og nasjonale organisasjoner brukte hundrevis "
"av millioner dollar på HIV-forebyggende arbeid, viste rapportene at "
"kunnskapsnivået fortsatt var lavt. For eksempel var folk ikke klar over om "
"viruset kunne overføres via hoste og nysing. Støttet av et tverrfaglig team "
"av eksperter ved Stanford, gjennomførte Piya lignende studier, som bekreftet "
"tidligere forskning. De fant at den primære årsaken til begrenset forståelse "
"var at HIV, og problemer knyttet til det, ofte ble betraktet som for tabu "
"til å diskutere fullt ut. Det andre store problemet var at det meste av "
"utdanningen om dette emnet skjedde  gjennom TV-reklame, reklametavler og "
"andre kampanjer i massemedia, noe som betydde at folk bare fikk bruddstykker "
"av informasjon."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8815
#, fuzzy
#| msgid ""
#| "In late 2005, Piya and her team used research-based design to create new "
#| "educational materials and worked with local partners in India to help "
#| "distribute them. As soon as the animated software was posted online, "
#| "Piya’s team started receiving requests from individuals and governments "
#| "who were interested in bringing this model to more countries. “We "
#| "realized fairly quickly that educating large populations about a topic "
#| "that was considered taboo would be challenging. We began by identifying "
#| "optimal local partners and worked toward creating an effective, "
#| "culturally appropriate education,” Piya said."
msgid ""
"In late 2005, Piya and her team used research-based design to create new "
"educational materials and worked with local partners in India to help "
"distribute them. As soon as the animated software was posted online, Piya’s "
"team started receiving requests from individuals and governments who were "
"interested in bringing this model to more countries. <quote>We realized "
"fairly quickly that educating large populations about a topic that was "
"considered taboo would be challenging. We began by identifying optimal local "
"partners and worked toward creating an effective, culturally appropriate "
"education,</quote> Piya said."
msgstr ""
"Sent i 2005 brukte Piya og hennes team forskningsbasert design for å skape "
"nytt pedagogisk materiell, og jobbet med lokale partnere i India for å "
"distribuere det. Så snart den animerte programvaren var postet på nettet, "
"fikk Piyas team forespørsler fra enkeltpersoner og regjeringer som var "
"interessert i å ta i bruk denne modellen i flere land. <quote>Vi skjønte "
"raskt at å utdanne store befolkningsgrupper om et emne som var ansett for å "
"være tabu, ville være utfordrende. Vi gikk i gang med å identifisere "
"passende lokale partnere, og jobbet for å skape en effektiv, kulturelt "
"tilpasset utdanning</quote>, sa Piya."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8827
msgid ""
"Very shortly after the initial release, Piya’s team decided to spin the "
"endeavor into an independent nonprofit out of Stanford University. They also "
"decided to use Creative Commons licenses on the materials."
msgstr ""
"Like etter den første utgivelsen, besluttet Piyas team å ta med sin oppgave "
"til en uavhengig, ideell organisasjon fra Stanford University. De besluttet "
"også å bruke Creative Commons-lisenser på materialet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8833
#, fuzzy
#| msgid ""
#| "Given their educational mission, TeachAIDS had an obvious interest in "
#| "seeing the materials as widely shared as possible. But they also needed "
#| "to preserve the integrity of the medical information in the content. They "
#| "chose the Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which "
#| "essentially gives the public the right to distribute only verbatim copies "
#| "of the content, and for noncommercial purposes. “We wanted attribution "
#| "for TeachAIDS, and we couldn’t stand by derivatives without vetting "
#| "them,” the cofounder and chair Shuman Ghosemajumder said. “It was almost "
#| "a no-brainer to go with a CC license because it was a plug-and-play "
#| "solution to this exact problem. It has allowed us to scale our materials "
#| "safely and quickly worldwide while preserving our content and protecting "
#| "us at the same time.”"
msgid ""
"Given their educational mission, TeachAIDS had an obvious interest in seeing "
"the materials as widely shared as possible. But they also needed to preserve "
"the integrity of the medical information in the content. They chose the "
"Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially "
"gives the public the right to distribute only verbatim copies of the "
"content, and for noncommercial purposes. <quote>We wanted attribution for "
"TeachAIDS, and we couldn’t stand by derivatives without vetting them,</"
"quote> the cofounder and chair Shuman Ghosemajumder said.  <quote>It was "
"almost a no-brainer to go with a CC license because it was a plug-and-play "
"solution to this exact problem. It has allowed us to scale our materials "
"safely and quickly worldwide while preserving our content and protecting us "
"at the same time.</quote>"
msgstr ""
"Med sine pedagogiske formål hadde TeachAIDS en tydelig interesse av å få "
"materialet delt så mye som mulig. Men de trengte også å sikre integriteten "
"til den medisinske informasjonen i innholdet. De valgte Attribution-"
"NonCommercial-NoDerivs-lisensen (CC BY-NC-ND), som i hovedsak ga publikum "
"rett til distribuere bare ordrette kopier av innholdet, og for ikke-"
"kommersielt formål. <quote>Vi ønsket henvisning til TeachAIDS, og vi kunne "
"ikke stå bak derivater uten etter en kritisk gjennomgang</quote>, sa "
"medstifter Shuman Ghosemajumder fra styret. <quote>Det krevde lite tenking å "
"gå for en CC-lisens fordi det var en plug and play-løsning på akkurat dette "
"problemet. Det har tillatt oss å skalere opp våre materialer raskt , sikkert "
"og globalt og samtidig bevare innholdet vårt og beskytte oss samtidig.</"
"quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8849
#, fuzzy
#| msgid ""
#| "Choosing a license that does not allow adaptation of the content was an "
#| "outgrowth of the careful precision with which TeachAIDS crafts their "
#| "content. The organization invests heavily in research and testing to "
#| "determine the best method of conveying the information. “Creating high-"
#| "quality content is what matters most to us,” Piya said. “Research drives "
#| "everything we do.”"
msgid ""
"Choosing a license that does not allow adaptation of the content was an "
"outgrowth of the careful precision with which TeachAIDS crafts their "
"content. The organization invests heavily in research and testing to "
"determine the best method of conveying the information. <quote>Creating high-"
"quality content is what matters most to us,</quote> Piya said. "
"<quote>Research drives everything we do.</quote>"
msgstr ""
"Å velge en lisens som ikke tillater tilpasning av innholdet, var en "
"fremvekst ut fra den forsiktige presisjonen som TeachAIDS behandler sitt "
"innhold med. Organisasjonen investerer tungt i forskning og testing for å "
"bestemme den beste metoden for å formidle informasjon. <quote>Å lage innhold "
"med høy kvalitet er det som betyr mest for oss</quote>, sa Piya. "
"<quote>Forskning styrer alt vi gjør.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8858
msgid ""
"One important finding was that people accept the message best when it comes "
"from familiar voices they trust and admire. To achieve this, TeachAIDS "
"researches cultural icons that would best resonate with their target "
"audiences and recruits them to donate their likenesses and voices for use in "
"the animated software. The celebrities involved vary for each localized "
"version of the materials."
msgstr ""
"Et viktig funn var at folk aksepterer budskapet best når det kommer fra "
"velkjente stemmer de stoler på og beundrer. For å få dette til, ser "
"TeachAIDS etter kulturelle ikoner som best appellerer til målgruppene sine, "
"og rekrutterer dem til å donere sin støtte og stemme til bruk i den animerte "
"programvaren. Hvilke kjendiser som involveres varierer for hver lokalt "
"tilpassede versjon av materialet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8867
msgid ""
"Localization is probably the single-most important aspect of the way "
"TeachAIDS creates its content. While each regional version builds from the "
"same core scientific materials, they pour a lot of resources into "
"customizing the content for a particular population. Because they use a CC "
"license that does not allow the public to adapt the content, TeachAIDS "
"retains careful control over the localization process. The content is "
"translated into the local language, but there are also changes in substance "
"and format to reflect cultural differences. This process results in minor "
"changes, like choosing different idioms based on the local language, and "
"significant changes, like creating gendered versions for places where people "
"are more likely to accept information from someone of the same gender."
msgstr ""
"Lokalisering er trolig alene det viktigste aspektet når TeachAIDS lager "
"innholdet. Mens hver regional versjon bygger på den samme kjernen av "
"vitenskapelige materialer, legger de mye ressurser inn i å tilpasse "
"innholdet til en bestemt populasjon. Fordi de bruker en CC-lisens som ikke "
"tillater publikum å tilpasse innholdet, fører TeachAIDS nøye kontroll med "
"lokaliseringsprosessen. Innholdet oversettes til det lokale språket, men det "
"er også endringer i stoff og format for å reflektere kulturelle forskjeller. "
"Denne prosessen resulterer i mindre endringer, som å velger ulike uttrykk "
"basert på det lokale språket, og betydelige endringer, som å lage ulike "
"versjoner etter kjønn for områder der hvor folk sannsynligvis lettere mottar "
"informasjon fra noen av det samme kjønn."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8882
msgid ""
"The localization process relies heavily on volunteers. Their volunteer base "
"is deeply committed to the cause, and the organization has had better luck "
"controlling the quality of the materials when they tap volunteers instead of "
"using paid translators. For quality control, TeachAIDS has three separate "
"volunteer teams translate the materials from English to the local language "
"and customize the content based on local customs and norms. Those three "
"versions are then analyzed and combined into a single master translation. "
"TeachAIDS has additional teams of volunteers then translate that version "
"back into English to see how well it lines up with the original materials. "
"They repeat this process until they reach a translated version that meets "
"their standards. For the Tibetan version, they went through this cycle "
"eleven times."
msgstr ""
"Lokaliseringsprosessen er avhengig av frivillige. Deres gruppe med "
"frivillige er sterkt engasjert i saken, og organisasjonen har vært heldigere "
"med kvalitetskontrollen på materialet når de hører på frivillige istedenfor "
"betalte oversettere. Til kvalitetskontroll har TeachAIDS tre separate "
"frivillige lag som oversetter materialet fra engelsk til det lokale språket, "
"og tilpasser innholdet til lokale skikker og normer. De tre versjonene blir "
"deretter analysert og kombinert til en enkelt hovedoversettelse. TeachAIDS "
"har flere team av frivillige som så oversetter denne versjonen tilbake til "
"engelsk for å se hvor godt den stemmer overens med det opprinnelige "
"materialet. De gjentar denne prosessen til de når en oversatt versjon som "
"tilfredsstiller deres krav. For den tibetanske versjonen gikk de igjennom "
"denne syklusen elleve ganger."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8898
#, fuzzy
#| msgid ""
#| "TeachAIDS employs full-time employees, contractors, and volunteers, all "
#| "in different capacities and organizational configurations. They are "
#| "careful to use people from diverse backgrounds to create the materials, "
#| "including teachers, students, and doctors, as well as individuals "
#| "experienced in working in the NGO space. This diversity and breadth of "
#| "knowledge help ensure their materials resonate with people from all walks "
#| "of life.  Additionally, TeachAIDS works closely with film writers and "
#| "directors to help keep the concepts entertaining and easy to understand. "
#| "The inclusive, but highly controlled, creative process is undertaken "
#| "entirely by people who are specifically brought on to help with a "
#| "particular project, rather than ongoing staff. The final product they "
#| "create is designed to require zero training for people to implement in "
#| "practice. “In our research, we found we can’t depend on people passing on "
#| "the information correctly, even if they have the best of intentions,” "
#| "Piya said. “We need materials where you can push play and they will work.”"
msgid ""
"TeachAIDS employs full-time employees, contractors, and volunteers, all in "
"different capacities and organizational configurations. They are careful to "
"use people from diverse backgrounds to create the materials, including "
"teachers, students, and doctors, as well as individuals experienced in "
"working in the NGO space. This diversity and breadth of knowledge help "
"ensure their materials resonate with people from all walks of life.  "
"Additionally, TeachAIDS works closely with film writers and directors to "
"help keep the concepts entertaining and easy to understand. The inclusive, "
"but highly controlled, creative process is undertaken entirely by people who "
"are specifically brought on to help with a particular project, rather than "
"ongoing staff. The final product they create is designed to require zero "
"training for people to implement in practice. <quote>In our research, we "
"found we can’t depend on people passing on the information correctly, even "
"if they have the best of intentions,</quote> Piya said.  <quote>We need "
"materials where you can push play and they will work.</quote>"
msgstr ""
"TeachAIDS benytter heltidsansatte, innleide på kontrakt og frivillige, alle "
"i ulike roller og organisatoriske fordelinger. De er bevisste på å bruke "
"mennesker med forskjellig bakgrunn til å lage materiale, inkludert lærere, "
"studenter og leger, samt enkeltpersoner som har erfaring med å jobbe i en "
"NGO-sammenheng. Dette mangfoldet og denne kunnskapsbredden bidrar til å "
"sikre at materialet deres appellerer til folk fra alle samfunnslag.  I "
"tillegg samarbeider TeachAIDS tett med manusforfattere og regissører for å "
"sikre at konseptene er underholdende og lette å forstå. Den inkluderende, "
"men nøye kontrollerte, kreative prosessen utføres kun av folk som er tatt "
"spesielt inn for å bistå i et bestemt prosjekt, snarere enn vanlige ansatte. "
"Det endelige produktet de lager er utformet slik at det kreves null "
"opplæring av folkene som skal ta seg av den praktiske gjennomføringen. "
"<quote>I vår forskning</quote>, forteller Piya, <quote>fant vi at vi ikke "
"kunne stole på at folk formidler informasjonen riktig, selv om de har de "
"beste intensjoner. Vi trenger materiale hvor du holder at du kan trykke "
"start på avspilleren</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8918
#, fuzzy
#| msgid ""
#| "Piya’s team was able to produce all of these versions over several years "
#| "with a head count that never exceeded eight full-time employees. The "
#| "organization is able to reduce costs by relying heavily on volunteers and "
#| "in-kind donations. Nevertheless, the nonprofit needed a sustainable "
#| "revenue model to subsidize content creation and physical distribution of "
#| "the materials. Charging even a low price was simply not an option. "
#| "“Educators from various nonprofits around the world were just creating "
#| "their own materials using whatever they could find for free online,” "
#| "Shuman said. “The only way to persuade them to use our highly effective "
#| "model was to make it completely free.”"
msgid ""
"Piya’s team was able to produce all of these versions over several years "
"with a head count that never exceeded eight full-time employees. The "
"organization is able to reduce costs by relying heavily on volunteers and in-"
"kind donations. Nevertheless, the nonprofit needed a sustainable revenue "
"model to subsidize content creation and physical distribution of the "
"materials. Charging even a low price was simply not an option. "
"<quote>Educators from various nonprofits around the world were just creating "
"their own materials using whatever they could find for free online,</quote> "
"Shuman said. <quote>The only way to persuade them to use our highly "
"effective model was to make it completely free.</quote>"
msgstr ""
"Piyas team var i stand til å produsere alle disse versjonene fordelt over "
"flere år med en hodetelling som aldri viste mer enn  åtte heltidsansatte. "
"Organisasjonen er i stand til å redusere kostnadene ved å stole tungt på "
"frivillige og andre personlige bidrag. Likevel trengte denne ideelle "
"organisasjonen en bærekraftig inntektsmodell til å subsidiere innhold og "
"fysiske distribusjon av materiale. Å betale en lav pris var rett og slett "
"ikke et alternativ. <quote>Lærere fra ulike ideelle organisasjoner verden "
"over laget sitt eget materiale med hva de kunne finne gratis på nettet</"
"quote>, sa Shuman. <quote>Den eneste måten å overtale dem til å bruke vår "
"svært effektive modell, var å gjøre den helt gratis.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8931
msgid ""
"Like many content creators offering their work for free, they settled on "
"advertising as a funding model. But they were extremely careful not to let "
"the advertising compromise their credibility or undermine the heavy "
"investment they put into creating quality content. Sponsors of the content "
"have no ability to influence the substance of the content, and they cannot "
"even create advertising content. Sponsors only get the right to have their "
"logo appear before and after the educational content. All of the content "
"remains branded as TeachAIDS."
msgstr ""
"Som mange innholdsleverandører som tilbyr sitt arbeid gratis, endte de med "
"annonsering som finansieringsmodell. Men de var svært forsiktig med å la "
"reklame invadere deres troverdighet, eller undergrave den tunge innsatsen de "
"legger i å skape kvalitetsinnhold. Sponsorer av innholdet har ikke mulighet "
"til å påvirke substansen i innholdet, og de kan ikke engang lage "
"reklameinnhold. Sponsorer får bare rett til å ha sin logo vist før og etter "
"det pedagogiske innholdet. Alt innhold er fortsatt merket som TeachAIDS."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8942
#, fuzzy
#| msgid ""
#| "TeachAIDS is careful not to seek funding to cover the costs of a specific "
#| "project. Instead, sponsorships are structured as unrestricted donations "
#| "to the nonprofit. This gives the nonprofit more stability, but even more "
#| "importantly, it enables them to subsidize projects being localized for an "
#| "area with no sponsors.  “If we just created versions based on where we "
#| "could get sponsorships, we would only have materials for wealthier "
#| "countries,” Shuman said."
msgid ""
"TeachAIDS is careful not to seek funding to cover the costs of a specific "
"project. Instead, sponsorships are structured as unrestricted donations to "
"the nonprofit. This gives the nonprofit more stability, but even more "
"importantly, it enables them to subsidize projects being localized for an "
"area with no sponsors.  <quote>If we just created versions based on where we "
"could get sponsorships, we would only have materials for wealthier countries,"
"</quote> Shuman said."
msgstr ""
"TeachAIDS er forsiktig med å søke midler for å dekke kostnadene for et "
"bestemt prosjekt. I stedet er sponsing strukturert som ikke-begrensede "
"donasjoner til denne ideelle organisasjonen. Dette gir denne ideelle "
"organisasjonen mer stabilitet, men enda viktigere, det gjør det mulig å "
"subsidiere prosjekter lokalisert til områder uten sponsorer.  <quote>Hvis vi "
"bare opprettet versjoner basert på hvor vi kunne få sponsing, ville vi bare "
"hatt materiale for rikere land</quote>, sa Shuman."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8952
#, fuzzy
#| msgid ""
#| "As of 2016, TeachAIDS has dozens of sponsors. “When we go into a new "
#| "country, various companies hear about us and reach out to us,” Piya said. "
#| "“We don’t have to do much to find or attract them.” They believe the "
#| "sponsorships are easy to sell because they offer so much value to "
#| "sponsors. TeachAIDS sponsorships give corporations the chance to reach "
#| "new eyeballs with their brand, but at a much lower cost than other "
#| "advertising channels. The audience for TeachAIDS content also tends to "
#| "skew young, which is often a desirable demographic for brands. Unlike "
#| "traditional advertising, the content is not time-sensitive, so an "
#| "investment in a sponsorship can benefit a brand for many years to come."
msgid ""
"As of 2016, TeachAIDS has dozens of sponsors. <quote>When we go into a new "
"country, various companies hear about us and reach out to us,</quote> Piya "
"said. <quote>We don’t have to do much to find or attract them.</quote> They "
"believe the sponsorships are easy to sell because they offer so much value "
"to sponsors. TeachAIDS sponsorships give corporations the chance to reach "
"new eyeballs with their brand, but at a much lower cost than other "
"advertising channels. The audience for TeachAIDS content also tends to skew "
"young, which is often a desirable demographic for brands. Unlike traditional "
"advertising, the content is not time-sensitive, so an investment in a "
"sponsorship can benefit a brand for many years to come."
msgstr ""
"I 2016 hadde TeachAIDS dusinvis av sponsorer. <quote>Når vi går inn i et "
"nytt land, hører ulike selskaper om oss og tar kontakt med oss</quote>, sa "
"Piya. <quote>Vi trenger ikke å gjøre mye for å finne eller trekke dem til "
"oss</quote>. De tror sponsorater er lette å selge fordi de gir så mye verdi "
"til sponsorer. TeachAIDSs sponsorater gir bedrifter muligheten til å nå nye "
"øyne med sine merkevarer, men til en mye lavere kostnad enn andre "
"annonsekanaler. Målgruppen for TeachAIDS innhold tenderer også til å helle "
"mot yngre, som ofte er demografisk ønskelig for merkevarer. I motsetning til "
"tradisjonell reklame er innholdet ikke tidssensitivt, så en investering i et "
"sponsorat kan være til fordel for et merke i mange år framover."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8966
#, fuzzy
#| msgid ""
#| "Importantly, the value to corporate sponsors goes beyond commercial "
#| "considerations. As a nonprofit with a clearly articulated social mission, "
#| "corporate sponsorships are donations to a cause. “This is something "
#| "companies can be proud of internally,” Shuman said. Some companies have "
#| "even built publicity campaigns around the fact that they have sponsored "
#| "these initiatives."
msgid ""
"Importantly, the value to corporate sponsors goes beyond commercial "
"considerations. As a nonprofit with a clearly articulated social mission, "
"corporate sponsorships are donations to a cause. <quote>This is something "
"companies can be proud of internally,</quote> Shuman said. Some companies "
"have even built publicity campaigns around the fact that they have sponsored "
"these initiatives."
msgstr ""
"Viktigere er at verdien for bedriftssponsorer har utbredelse utover "
"kommersielle hensyn. Som en ideell organisasjon med en tydelig artikulert "
"sosial oppgave er bedriftssponsing donasjoner til en sak. <quote>Dette er "
"noe selskaper internt kan være stolt av</quote>, sa Shuman. Noen selskaper "
"har til og med bygget reklamekampanjer rundt det faktum at de har sponset "
"disse initiativene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8975
#, fuzzy
#| msgid ""
#| "The core mission of TeachAIDS—ensuring global access to life-saving "
#| "education—is at the root of everything the organization does. It "
#| "underpins the work; it motivates the funders. The CC license on the "
#| "materials they create furthers that mission, allowing them to safely and "
#| "quickly scale their materials worldwide. “The Creative Commons license "
#| "has been a game changer for TeachAIDS,” Piya said."
msgid ""
"The core mission of TeachAIDS—ensuring global access to life-saving education"
"—is at the root of everything the organization does. It underpins the work; "
"it motivates the funders. The CC license on the materials they create "
"furthers that mission, allowing them to safely and quickly scale their "
"materials worldwide. <quote>The Creative Commons license has been a game "
"changer for TeachAIDS,</quote> Piya said."
msgstr ""
"Kjerneoppgaven til TeachAIDS – å sikre global tilgang til livreddende "
"utdanning, er roten til alt organisasjonen gjør. Det underbygger arbeidet; "
"og motiverer grunnleggerne. CC-lisensen på materialet de lager, fremmer "
"dette oppdraget, slik at de trygt og og raskt kan skalere sine materialer "
"over hele verden. <quote>Creative Commons-lisensen har endret "
"forutsetningene for TeachAIDS</quote>, sier Piya."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8985
msgid "Tribe of Noise"
msgstr "Tribe of Noise"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8988
msgid ""
"Tribe of Noise is a for-profit online music platform serving the film, TV, "
"video, gaming, and in-store-media industries. Founded in 2008 in the "
"Netherlands."
msgstr ""
"Tribe of Noise er en inntektsgivende musikkplattform som på nettet betjener "
"film-, TV-, video-, spill- og i-butikk-media-industriene. Grunnlagt i 2008 i "
"Nederland."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8993
msgid "<ulink url=\"http://www.tribeofnoise.com\"/>"
msgstr "<ulink url=\"http://www.tribeofnoise.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8998
msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 26, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 26. januar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9001
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Hessel van Oorschot, "
"cofounder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Hessel van Oorschot, "
"medgrunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9009
msgid ""
"In the early 2000s, Hessel van Oorschot was an entrepreneur running a "
"business where he coached other midsize entrepreneurs how to create an "
"online business. He also coauthored a number of workbooks for small- to "
"medium-size enterprises to use to optimize their business for the Web. "
"Through this early work, Hessel became familiar with the principles of open "
"licensing, including the use of open-source software and Creative Commons."
msgstr ""
"I starten av 2000-tallet var Hessel van Oorschot en entreprenør som drev et "
"firma der han trente andre mellomstore gründere i hvordan man oppretter en "
"Internett-bedrift. Han var også medforfatter i flere arbeidsbøker for små "
"til mellomstore bedrifter om å optimalisere sin virksomhet på nettet. "
"Gjennom dette tidlige arbeidet ble Hessel kjent med prinsippene for åpen "
"lisensiering, inkludert bruk av fri programvare og Creative Commons."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9018
msgid ""
"In 2005, Hessel and Sandra Brandenburg launched a niche video-production "
"initiative. Almost immediately, they ran into issues around finding and "
"licensing music tracks. All they could find was standard, cold stock-music. "
"They thought of looking up websites where you could license music directly "
"from the musician without going through record labels or agents. But in "
"2005, the ability to directly license music from a rights holder was not "
"readily available."
msgstr ""
"I 2005 lanserte Hessel og Sandra Brandenburg et nisjeinitiativ med video-"
"produksjon. Nesten umiddelbart fikk de problemer med å finne, og lisensiere "
"musikkspor. Alt de fant var standard, kald lager-musikk. De ville lete opp "
"nettsteder der de kunne lisensiere musikk direkte fra musikeren uten å gå "
"gjennom plateselskaper eller agenter. Men i 2005  var ikke muligheten til å "
"lisensiere musikk direkte fra en rettighetshaver lett tilgjengelig."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9028
#, fuzzy
#| msgid ""
#| "They hired two lawyers to investigate further, and while they uncovered "
#| "five or six examples, Hessel found the business models lacking. The "
#| "lawyers expressed interest in being their legal team should they decide "
#| "to pursue this as an entrepreneurial opportunity. Hessel says, “When "
#| "lawyers are interested in a venture like this, you might have something "
#| "special.” So after some more research, in early 2008, Hessel and Sandra "
#| "decided to build a platform."
msgid ""
"They hired two lawyers to investigate further, and while they uncovered five "
"or six examples, Hessel found the business models lacking. The lawyers "
"expressed interest in being their legal team should they decide to pursue "
"this as an entrepreneurial opportunity. Hessel says, <quote>When lawyers are "
"interested in a venture like this, you might have something special.</quote> "
"So after some more research, in early 2008, Hessel and Sandra decided to "
"build a platform."
msgstr ""
"De leide to advokater til å utrede ytterligere, og mens de avdekket fem "
"eller seks eksempler, fant Hessel at  forretningsmodellen manglet. "
"Advokatene uttrykte interesse for å være deres juridiske team hvis de skulle "
"bestemme seg for å forfølge dette som en forretningsmulighet. Hessel sier, "
"<quote>Når advokater er interessert i en satsing som dette, har du kanskje "
"noe spesielt</quote>. Så etter noen flere undersøkelser, besluttet Hessel og "
"Sandra tidlig i 2008 å bygge en plattform."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9038
msgid ""
"Building a platform posed a real chicken-and-egg problem. The platform had "
"to build an online community of music-rights holders and, at the same time, "
"provide the community with information and ideas about how the new economy "
"works. Community willingness to try new music business models requires a "
"trust relationship."
msgstr ""
"Å bygge en plattform ga et ekte høna og egget-problem. Plattformen måtte "
"bygge et nettbasert fellesskap av rettighetshavere til musikk, og på samme "
"tid gi fellesskapet informasjon og ideer om hvordan den nye økonomien "
"virker. Fellesskapets villighet til å prøve nye forretningsmodeller for "
"musikk krever et tillitsforhold."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9045
msgid ""
"In July 2008, Tribe of Noise opened its virtual doors with a couple hundred "
"musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a "
"limited part of their repertoire.  The two entrepreneurs wanted to take the "
"pain away for media makers who wanted to license music and solve the "
"problems the two had personally experienced finding this music."
msgstr ""
"I juli 2008 åpnet Tribe of Noise sine virtuelle dører med et par hundre "
"musikere som var villige til å bruke CC BY-SA-lisensen (Attribution-"
"ShareAlike) for en begrenset del av repertoaret. De to gründerne ønsket å ta "
"smerten vekk for medieprodusenter som ønsket å lisensiere musikk, og løse de "
"problemene de to personlig hadde erfart for å finne denne musikken."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9060
msgid "<ulink url=\"http://www.instoremusicservice.com\"/>"
msgstr "<ulink url=\"http://www.instoremusicservice.com\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9053
msgid ""
"As they were growing the community, Hessel got a phone call from a company "
"that made in-store music playlists asking if they had enough music licensed "
"with Creative Commons that they could use.  Stores need quality, good-"
"listening music but not necessarily hits, a bit like a radio show without "
"the DJ. This opened a new opportunity for Tribe of Noise. They started their "
"In-store Music Service, using music (licensed with CC BY-SA) uploaded by the "
"Tribe of Noise community of musicians.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""
"Etter hvert som de bygget opp fellesskapet, fikk Hessel en telefon fra et "
"selskap som laget i-butikken musikkspillelister som spurte om de hadde nok "
"musikk lisensiert med Creative Commons som de kunne bruke.  Butikkene "
"trengte kvalitetsmusikk som var god å lytte til, men ikke nødvendigvis "
"slagere, litt som en radio uten DJ. Dette åpnet en ny mulighet for Tribe of "
"Noise. De startet sin i-butikken Music Service, og brukte musikk (lisensiert "
"med CC BY-SA) lastet opp av Tribe of Noise sitt fellesskap av musikere."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9063
#, fuzzy
#| msgid ""
#| "In most countries, artists, authors, and musicians join a collecting "
#| "society that manages the licensing and helps collect the royalties. "
#| "Copyright collecting societies in the European Union usually hold "
#| "monopolies in their respective national markets. In addition, they "
#| "require their members to transfer exclusive administration rights to them "
#| "of all of their works.  This complicates the picture for Tribe of Noise, "
#| "who wants to represent artists, or at least a portion of their "
#| "repertoire.  Hessel and his legal team reached out to collecting "
#| "societies, starting with those in the Netherlands. What would be the best "
#| "legal way forward that would respect the wishes of composers and "
#| "musicians who’d be interested in trying out new models like the In-store "
#| "Music Service? Collecting societies at first were hesitant and said no, "
#| "but Tribe of Noise persisted arguing that they primarily work with "
#| "unknown artists and provide them exposure in parts of the world where "
#| "they don’t get airtime normally and a source of revenue—and this "
#| "convinced them that it was OK. However, Hessel says, “We are still "
#| "fighting for a good cause every single day.”"
msgid ""
"In most countries, artists, authors, and musicians join a collecting society "
"that manages the licensing and helps collect the royalties. Copyright "
"collecting societies in the European Union usually hold monopolies in their "
"respective national markets. In addition, they require their members to "
"transfer exclusive administration rights to them of all of their works.  "
"This complicates the picture for Tribe of Noise, who wants to represent "
"artists, or at least a portion of their repertoire.  Hessel and his legal "
"team reached out to collecting societies, starting with those in the "
"Netherlands. What would be the best legal way forward that would respect the "
"wishes of composers and musicians who’d be interested in trying out new "
"models like the In-store Music Service? Collecting societies at first were "
"hesitant and said no, but Tribe of Noise persisted arguing that they "
"primarily work with unknown artists and provide them exposure in parts of "
"the world where they don’t get airtime normally and a source of revenue—and "
"this convinced them that it was OK. However, Hessel says, <quote>We are "
"still fighting for a good cause every single day.</quote>"
msgstr ""
"I de fleste land blir kunstnere, forfattere og musikere med i et "
"innsamlingsselskap som administrerer lisensiering, og hjelper til med å "
"samle inn royalty. Opphavsrettsselskaper i EU har vanligvis monopol i sine "
"respektive nasjonale markeder. I tillegg krever de at medlemmene deres "
"overfører eksklusive administrasjonsrettigheter til dem for alle sine "
"arbeider.  Dette kompliserer bildet for Tribe of Noise, som ønsker å "
"representere kunstnere, eller i det minste en del av deres repertoar.  "
"Hessel og hans juridiske team tok kontakt med disse selskapene, og startet "
"med dem i Nederland. Hva ville være den beste juridiske veien videre som "
"ville respektere ønskene til komponister og musikere som var interessert i å "
"prøve ut nye modeller som i-butikken musikktjeneste (In-store Music "
"Service)? Opphavsrettsselskapene var først nølende og sa nei, men Tribe of "
"Noise sto fast og hevdet at de primært arbeidet med ukjente artister, og gir "
"dem eksponering i deler av verden hvor de vanligvis ikke får sendetid og en "
"inntektskilde – og dette overbeviste dem om at det var OK. Imidlertid sier "
"Hessel, <quote>Vi kjemper fortsatt for en god sak hver eneste dag</quote>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9084
#, fuzzy
#| msgid ""
#| "Instead of building a large sales force, Tribe of Noise partnered with "
#| "big organizations who have lots of clients and can act as a kind of Tribe "
#| "of Noise reseller. The largest telecom network in the Netherlands, for "
#| "example, sells Tribe’s In-store Music Service subscriptions to their "
#| "business clients, which include fashion retailers and fitness centers. "
#| "They have a similar deal with the leading trade association representing "
#| "hotels and restaurants in the country. Hessel hopes to “copy and paste” "
#| "this service into other countries where collecting societies understand "
#| "what you can do with Creative Commons. Outside of the Netherlands, early "
#| "adoptions have happened in Scandinavia, Belgium, and the U.S."
msgid ""
"Instead of building a large sales force, Tribe of Noise partnered with big "
"organizations who have lots of clients and can act as a kind of Tribe of "
"Noise reseller. The largest telecom network in the Netherlands, for example, "
"sells Tribe’s In-store Music Service subscriptions to their business "
"clients, which include fashion retailers and fitness centers. They have a "
"similar deal with the leading trade association representing hotels and "
"restaurants in the country. Hessel hopes to <quote>copy and paste</quote> "
"this service into other countries where collecting societies understand what "
"you can do with Creative Commons. Outside of the Netherlands, early "
"adoptions have happened in Scandinavia, Belgium, and the U.S."
msgstr ""
"I stedet for å bygge en stor salgsstyrke, samarbeider Tribe of Noise med "
"store organisasjoner med mange klienter, og kan fungere som en slags Tribe "
"of Noise-forhandler. Det største telecomnettet  i Nederland, for eksempel, "
"selger Tribes In-store Music Service-abonnementer til sine bedriftskunder, "
"som inkluderer moteforhandlere og treningssentre. De har en lignende avtale "
"med den ledende bransjeorganisasjonen for hoteller og restauranter i landet. "
"Hessel håper å <quote>kopiere og lime inn</quote> denne tjenesten til andre "
"land der opphavsrettsselskaper forstår hva du kan gjøre med Creative "
"Commons. Etter  Nederland fulgte oppfølgingen i Skandinavia, Belgia, og USA."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9098
msgid ""
"Tribe of Noise doesn’t pay the musicians up front; they get paid when their "
"music ends up in Tribe of Noise’s in-store music channels. The musicians’ "
"share is 42.5 percent. It’s not uncommon in a traditional model for the "
"artist to get only 5 to 10 percent, so a share of over 40 percent is a "
"significantly better deal.  Here’s how they give an example on their website:"
msgstr ""
"Tribe of Noise betaler ikke musikere på forhånd; de får betalt når musikken "
"ender opp i Tribe of Noises i-butikken musikkanaler. Musikerne aksjeandel er "
"på 42,5 prosent. Det er ikke uvanlig i en tradisjonell modell for kunstneren "
"å bare få fra 5 til 10 prosent, slik at en andel på over 40 prosent er en "
"betydelig bedre avtale. Her viser de et eksempel på sin hjemmeside:"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9114
msgid "<ulink url=\"http://www.tribeofnoise.com/info_instoremusic.php\"/>"
msgstr "<ulink url=\"http://www.tribeofnoise.com/info_instoremusic.php\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9106
msgid ""
"A few of your songs [licensed with CC BY-SA], for example five in total, are "
"selected for a bespoke in-store music channel broadcasting at a large "
"retailer with 1,000 stores nationwide. In this case the overall playlist "
"contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee "
"agreed with this retailer is US$12 per month per play-out. So if 42.5% is "
"shared with the Tribe musicians in this playlist and your share is 1.43%, "
"you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per month."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Noen av sangene [lisensiert med CC BY-SA], for eksempel til sammen fem, "
"velges som en skreddersydd i butikken-musikkanal som kringkaster i en stor, "
"landsomfattende forhandlerkjede med 1000 butikker. I dette tilfellet "
"inneholder den samlede spillelisten 350 sanger så musikerens andel 5/350 = "
"1,43 %. Lisensavgiften man er enige med denne forhandleren om er US dollar "
"12 pr. måned pr. play-out. Så hvis 42,5 % deles med Tribes musikere i denne "
"spillelisten, og din del er 1,43 %, ender du opp med US dollar 12 * 1000 "
"butikker * 0.425 * 0.0143 = US dollar 73 pr. måned.<placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9117
msgid ""
"Tribe of Noise has another model that does not involve Creative Commons. In "
"a survey with members, most said they liked the exposure using Creative "
"Commons gets them and the way it lets them reach out to others to share and "
"remix. However, they had a bit of a mental struggle with Creative Commons "
"licenses being perpetual.  A lot of musicians have the mind-set that one day "
"one of their songs may become an overnight hit. If that happened the CC BY-"
"SA license would preclude them getting rich off the sale of that song."
msgstr ""
"Tribe of Noise har en annen modell som ikke involverer Creative Commons. I "
"en undersøkelse med medlemmer sa de fleste de likte eksponeringen som bruk "
"av Creative Commons gir dem, og måten den lar dem nå ut til andre til å dele "
"og remikse. De hadde imidlertid  litt av en mental kamp med at Creative "
"Commons-lisenser er evigvarende. Mange musikere tenker slik at en dag kan en "
"av sangene deres bli en hit over natten. Hvis det skjedde, ville CC BY-SA-"
"lisensen utelukke dem fra å bli rik fra salg av den sangen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9128
msgid ""
"Hessel’s legal team took this feedback and created a second model and "
"separate area of the platform called Tribe of Noise Pro. Songs uploaded to "
"Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has "
"instead created a <quote>nonexclusive exploitation</quote> contract, similar "
"to a Creative Commons license but allowing musicians to opt out whenever "
"they want. When you opt out, Tribe of Noise agrees to take your music off "
"the Tribe of Noise platform within one to two months. This lets the musician "
"reuse their song for a better deal."
msgstr ""
"Hessels juridiske team tok til seg tilbakemeldingen, og opprettet en ekstra "
"modell og et eget område på plattformen kalt Tribe of Noise Pro. Sanger som "
"lastes opp til Tribe of Noise Pro er ikke Creative Commons-lisensiert. Tribe "
"of Noise har i stedet opprettet en kontrakt for <quote>ikke-eksklusiv "
"utnyttelse</quote>, som ligner på en Creative Commons-lisens, men tillater "
"musikere å velge når de ønsker å gå ut. Når en velger å trekke seg, "
"aksepterer Tribe of Noise å ta musikken vekk fra Tribe of Noise-plattformen "
"innen en til to måneder. Dette lar musikeren gjenbruke sangen med en bedre "
"avtale."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9139
msgid ""
"Tribe of Noise Pro is primarily geared toward media makers who are looking "
"for music. If they buy a license from this catalog, they don’t have to state "
"the name of the creator; they just license the song for a specific amount. "
"This is a big plus for media makers.  And musicians can pull their "
"repertoire at any time. Hessel sees this as a more direct and clean deal."
msgstr ""
"Tribe of Noise er primært rettet mot medieprodusenter som leter etter "
"musikk. Hvis de kjøper en lisens fra denne katalogen, trenger de ikke å "
"oppgi navnet på produsenten; de lisensierer bare sangen for et bestemt "
"beløp. Dette er et stort pluss for medieprodusenter.  Og musikere kan trekke "
"sitt repertoar til enhver tid. Hessel ser dette som en mer direkte og ren "
"avtale."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9147
msgid ""
"Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and "
"the community area of Tribe of Noises. There aren’t that many artists who "
"upload only to Tribe of Noise Pro, which has a smaller repertoire of music "
"than the community area."
msgstr ""
"Mange av Tribe of Noises musikere laster opp sanger til både Tribe of Noise "
"Pro og fellesskapsområdet til Tribe of Noise. Det er ikke så mange kunstnere "
"som bare laster opp til Tribe of Noise Pro, som har et mindre "
"musikkrepertoar enn fellesområdet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9153
msgid ""
"Hessel sees the two as complementary. Both are needed for the model to work. "
"With a whole generation of musicians interested in the sharing economy, the "
"community area of Tribe of Noise is where they can build trust, create "
"exposure, and generate money. And after that, musicians may become more "
"interested in exploring other models like Tribe of Noise Pro."
msgstr ""
"Hessel ser de to som komplementære. Begge er nødvendige for at modellen skal "
"kunne virke. Med en hel generasjon musikere interessert i delingsøkonomien, "
"kan de bygge tillit i fellesskapet til Tribe of Noice, lage eksponering og "
"få inntekter. Og etter dette  kan musikere bli mer interessert i å utforske "
"andre modeller som Tribe of Noise Pro."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9161
msgid ""
"Every musician who joins Tribe of Noise gets their own home page and free "
"unlimited Web space to upload as much of their own music as they like. Tribe "
"of Noise is also a social network; fellow musicians and professionals can "
"vote for, comment on, and like your music. Community managers interact with "
"and support members, and music supervisors pick and choose from the uploaded "
"songs for in-store play or to promote them to media producers. Members "
"really like having people working for the platform who truly engage with "
"them."
msgstr ""
"Hver person som blir med i Tribe of Noise får sin egen hjemmeside, og gratis "
"et ubegrenset webområde til å laste opp så mye av sin egen musikk som de "
"vil. Tribe of Noise er også et sosialt nettverk. Andre musikere og fagfolk "
"kan stemme for, kommentere, og like din musikk. Fellesskapsansvarlige "
"samhandler med, og støtter medlemmer, og musikkveiledere velger og vraker "
"fra de opplastede sangene for å avspille i-butikken, eller promoterer dem "
"for mediaprodusenter. Medlemmene liker virkelig  å ha folk som arbeider for "
"plattformen, og som virkelig engasjerer seg med dem."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9172
msgid ""
"Another way Tribe of Noise creates community and interest is with contests, "
"which are organized in partnership with Tribe of Noise clients. The client "
"specifies what they want, and any member can submit a song. Contests usually "
"involve prizes, exposure, and money. In addition to building member "
"engagement, contests help members learn how to work with clients: listening "
"to them, understanding what they want, and creating a song to meet that need."
msgstr ""
"En annen måte Tribe of Noise skaper fellesskap og interesse på er "
"konkurranser, som er organisert i samarbeid med klientene til Tribe of "
"Noise. Klienten angir hva de vil ha, og alle medlemmer kan sende inn en "
"sang. Konkurranser innebærer vanligvis premier, eksponering og penger. I "
"tillegg til å bygge medlemsengasjement, hjelper konkurranser medlemmene til "
"å lære hvordan arbeide med klienter: Lytte til dem, forstå hva de vil, og "
"lage en sang for å møte det behovet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9182
msgid ""
"Tribe of Noise now has twenty-seven thousand members from 192 countries, and "
"many are exploring do-it-yourself models for generating revenue. Some came "
"from music labels and publishers, having gone through the traditional way of "
"music licensing and now seeing if this new model makes sense for them. "
"Others are young musicians, who grew up with a DIY mentality and see little "
"reason to sign with a third party or hand over some of the control. Still a "
"small but growing group of Tribe members are pursuing a hybrid model by "
"licensing some of their songs under CC BY-SA and opting in others with "
"collecting societies like ASCAP or BMI."
msgstr ""
"Tribe of Noise har nå syvogtyve tusen medlemmer fra 192 land, og mange "
"utforsker gjør det selv-modeller (DIY - Do it yourself ) for å skaffe "
"inntekter. Noen kom fra plateselskaper og utgivere, og har gått gjennom den "
"tradisjonelle måten med musikklisensiering, og ser nå om denne nye modellen "
"er fornuftig for dem. Andre er unge musikere, som vokste opp med en DIY-"
"mentalitet, og ser liten grunn til å signere med en tredjepart, eller gi fra "
"seg noe av kontrollen. Fremdeles følger en liten, men voksende gruppe av "
"Tribe-medlemmer en hybridmodell med lisensiering av noen av sine sanger "
"under CC BY-SA, og velger andre opphavsrettsselskaper som ASCAP eller BMI."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9194
msgid ""
"It’s not uncommon for performance-rights organizations, record labels, or "
"music publishers to sign contracts with musicians based on exclusivity. Such "
"an arrangement prevents those musicians from uploading their music to Tribe "
"of Noise. In the United States, you can have a collecting society handle "
"only some of your tracks, whereas in many countries in Europe, a collecting "
"society prefers to represent your entire repertoire (although the European "
"Commission is making some changes). Tribe of Noise deals with this issue all "
"the time and gives you a warning whenever you upload a song. If collecting "
"societies are willing to be open and flexible and do the most they can for "
"their members, then they can consider organizations like Tribe of Noise as a "
"nice add-on, generating more exposure and revenue for the musicians they "
"represent. So far, Tribe of Noise has been able to make all this work "
"without litigation."
msgstr ""
"Det er ikke uvanlig for opphavsrettsorganisasjoner, plateselskaper eller "
"musikkutgivere å signere kontrakter med musikere basert på eksklusivitet. En "
"slik ordning hindrer disse musikerne i å laste opp musikken til Tribe of "
"Noise. I USA kan du ha et opphavsrettsselskap til å håndtere noen av "
"sporene, mens i mange land i Europa foretrekker opphavsrettsselskapet å "
"representere hele repertoaret (selv om Europakommisjonen gjør noen "
"endringer). Tribe of Noise håndterer dette  problemet hele tiden, og gir deg "
"en advarsel hver gang du laster opp en sang. Hvis opphavsrettsselskapet er "
"villig til å være åpent og fleksibelt, og gjøre det meste de kan for sine "
"medlemmer, kan de vurdere organisasjoner som Tribe of Noise som et kjekt "
"tillegg, som genererer mer eksponering og inntekter for musikere de "
"representerer. Så langt har Tribe of Noise vært i stand til å gjøre alt "
"dette arbeidet uten rettstvister."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9211
msgid ""
"For Hessel the key to Tribe of Noise’s success is trust. The fact that "
"Creative Commons licenses work the same way all over the world and have been "
"translated into all languages really helps build that trust. Tribe of Noise "
"believes in creating a model where they work together with musicians. They "
"can only do that if they have a live and kicking community, with people who "
"think that the Tribe of Noise team has their best interests in mind. "
"Creative Commons makes it possible to create a new business model for music, "
"a model that’s based on trust."
msgstr ""
"For Hessel er nøkkelen til Tribe of Noises suksess tillit. Det faktum at "
"Creative Commons-lisenser fungerer på samme måte over hele verden, og har "
"blitt oversatt til alle språk, hjelper virkelig til å bygge den tilliten. "
"Tribe of Noise tror på å skape en modell der de arbeider sammen med "
"musikere. De kan bare gjøre det hvis de har et samfunn i levende live, med "
"folk som tror at laget til Tribe of Noise har deres beste interesse i "
"tankene. Creative Commons gjør det mulig å opprette en ny forretningsmodell "
"for musikk, en modell basert på tillit."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9223
msgid "Wikimedia Foundation"
msgstr "Wikimedia-stiftelsen"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9226
msgid ""
"The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia "
"and its sister projects. Founded in 2003 in the U.S."
msgstr ""
"Wikimedia-stiftelsen er den ideelle organisasjonen som huser Wikipedia med "
"søsterprosjekter. Grunnlagt i 2003 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9231
msgid "<ulink url=\"http://wikimediafoundation.org\"/>"
msgstr "<ulink url=\"http://wikimediafoundation.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9233
msgid "<emphasis role=\"strong\">Revenue model</emphasis>: donations"
msgstr "<emphasis role=\"strong\">Inntektsmodell</emphasis>: Donasjoner"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9235
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 18, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 18. desember 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9238
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Luis Villa, former Chief "
"Officer of Community Engagement, and Stephen LaPorte, legal counsel"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Luis Villa, tidligere sjef "
"for Community Engagement, og Stephen LaPorte, advokat"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9247
msgid "Nearly every person with an online presence knows Wikipedia."
msgstr "Nesten hver person som er på nettet vet om Wikipedia."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9250
msgid ""
"In many ways, it is the preeminent open project: The online encyclopedia is "
"created entirely by volunteers. Anyone in the world can edit the articles. "
"All of the content is available for free to anyone online. All of the "
"content is released under a Creative Commons license that enables people to "
"reuse and adapt it for any purpose."
msgstr ""
"På mange måter er dette et fremragende åpent prosjekt: Dette nettleksikonet "
"er utelukkende laget av frivillige. Hvem som helst i verden kan redigere "
"artikler. Alt innhold er tilgjengelig gratis for alle på nettet. Alt innhold "
"er utgitt under en Creative Commons-lisens som gjør det mulig å bruke og "
"tilpasse det til hvilket som helst formål."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9258
msgid ""
"As of December 2016, there were more than forty-two million articles in the "
"295 language editions of the online encyclopedia, according to—what else?—"
"the Wikipedia article about Wikipedia."
msgstr ""
"I desember 2016 var det mer enn førtito millioner artikler på 295 språk i "
"nettleksikonet, ifølge, selvfølgelig, Wikipedia-artikkelen om Wikipedia."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9263
msgid ""
"The Wikimedia Foundation is a U.S.-based nonprofit organization that owns "
"the Wikipedia domain name and hosts the site, along with many other related "
"sites like Wikidata and Wikimedia Commons. The foundation employs about two "
"hundred and eighty people, who all work to support the projects it hosts. "
"But the true heart of Wikipedia and its sister projects is its community. "
"The numbers of people in the community are variable, but about seventy-five "
"thousand volunteers edit and improve Wikipedia articles every month. "
"Volunteers are organized in a variety of ways across the globe, including "
"formal Wikimedia chapters (mostly national), groups focused on a particular "
"theme, user groups, and many thousands who are not connected to a particular "
"organization."
msgstr ""
"Wikimedia Foundation er en USA-basert ideell organisasjon som eier "
"domenenavnet Wikipedia og huser nettstedet, sammen med mange andre "
"beslektede nettsteder som Wikidata og Wikimedia Commons. Stiftelsen "
"sysselsetter ca. to hundre og åtte personer, som alle arbeider for å støtte "
"disse prosjektene. Men det virkelige hjertet til Wikipedia og dets "
"søsterprosjekter er fellesskapet (community). Antallet mennesker i "
"fellesskapet varierer, men omtrent 75 000 frivillige redigerer og forbedrer "
"Wikipedia-artikler hver måned. Frivillige er organisert på en rekke måter "
"over hele verden, inkludert formelle Wikimedia-avdelinger (hovedsakelig "
"nasjonale), grupper fokusert på et bestemt tema, brukergrupper, og mange "
"tusen som ikke er koblet til en bestemt organisasjon."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9277
msgid ""
"As Wikimedia legal counsel Stephen LaPorte told us, <quote>There is a common "
"saying that Wikipedia works in practice but not in theory.</quote> While it "
"undoubtedly has its challenges and flaws, Wikipedia and its sister projects "
"are a striking testament to the power of human collaboration."
msgstr ""
"Som Wikimedias juridiske rådgiver Stephen LaPorte fortalte oss, <quote>Det "
"er et vanlig ordtak at Wikipedia fungerer i praksis, men ikke i teorien</"
"quote>. Mens det utvilsomt har sine utfordringer og feil, er Wikipedia og "
"dets søsterprosjekter et slående eksempel på betydningen av kraften i "
"menneskelig samarbeid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9284
msgid ""
"Because of its extraordinary breadth and scope, it does feel a bit like a "
"unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what "
"makes the projects successful—community, transparency, a strong mission, "
"trust—are consistent with what it takes to be successfully Made with "
"Creative Commons more generally. With Wikipedia, everything just happens at "
"an unprecedented scale."
msgstr ""
"På grunn av sin ekstraordinære bredde og sitt omfang føles det litt som en "
"enhjørning. Det er faktisk ingenting som Wikipedia. Likevel, mye av det som "
"gjør at prosjektene er vellykket – fellesskapet, gjennomsiktighet, en sterk "
"misjon, tillit – faller sammen med hva som mer generelt  kreves for å være "
"Made with Creative Commons. Med Wikipedia skjer bare alt i et enestående "
"omfang."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9293
msgid ""
"The story of Wikipedia has been told many times. For our purposes, it is "
"enough to know the experiment started in 2001 at a small scale, inspired by "
"the crazy notion that perhaps a truly open, collaborative project could "
"create something meaningful. At this point, Wikipedia is so ubiquitous and "
"ingrained in our digital lives that the fact of its existence seems less "
"remarkable. But outside of software, Wikipedia is perhaps the single most "
"stunning example of successful community cocreation. Every day, seven "
"thousand new articles are created on Wikipedia, and nearly fifteen thousand "
"edits are made every hour."
msgstr ""
"Historien om Wikipedia har blitt fortalt mange ganger. For vårt formål er "
"det nok å vite at eksperimentet startet i 2001 i liten skala, inspirert av "
"den sprøe ideen om at kanskje et virkelig åpent samarbeidsprosjekt kunne "
"lage noe meningsfullt. I dag er Wikipedia så allestedsnærværende og "
"innblandet  i våre digitale liv at det faktum at det eksisterer, synes "
"mindre bemerkelsesverdig. Men i tillegg til dataprogrammer, er Wikipedia "
"kanskje det mest fantastiske enkelteksempel på et vellykket samvirke. Hver "
"dag opprettes syv tusen nye artikler på Wikipedia, og nesten femten tusen "
"redigeringer utføres hver time."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9305
#, fuzzy
#| msgid ""
#| "The nature of the content the community creates is ideal for asynchronous "
#| "cocreation. “An encyclopedia is something where incremental community "
#| "improvement really works,” Luis Villa, former Chief Officer of Community "
#| "Engagement, told us. The rules and processes that govern cocreation on "
#| "Wikipedia and its sister projects are all community-driven and vary by "
#| "language edition.  There are entire books written on the intricacies of "
#| "their systems, but generally speaking, there are very few exceptions to "
#| "the rule that anyone can edit any article, even without an account on "
#| "their system. The extensive peer-review process includes elaborate "
#| "systems to resolve disputes, methods for managing particularly "
#| "controversial subject areas, talk pages explaining decisions, and much, "
#| "much more. The Wikimedia Foundation’s decision to leave governance of the "
#| "projects to the community is very deliberate. “We look at the things that "
#| "the community can do well, and we want to let them do those things,” "
#| "Stephen told us.  Instead, the foundation focuses its time and resources "
#| "on what the community cannot do as effectively, like the software "
#| "engineering that supports the technical infrastructure of the sites. In "
#| "2015-16, about half of the foundation’s budget went to direct support for "
#| "the Wikimedia sites."
msgid ""
"The nature of the content the community creates is ideal for asynchronous "
"cocreation. <quote>An encyclopedia is something where incremental community "
"improvement really works,</quote> Luis Villa, former Chief Officer of "
"Community Engagement, told us. The rules and processes that govern "
"cocreation on Wikipedia and its sister projects are all community-driven and "
"vary by language edition. There are entire books written on the intricacies "
"of their systems, but generally speaking, there are very few exceptions to "
"the rule that anyone can edit any article, even without an account on their "
"system. The extensive peer-review process includes elaborate systems to "
"resolve disputes, methods for managing particularly controversial subject "
"areas, talk pages explaining decisions, and much, much more. The Wikimedia "
"Foundation’s decision to leave governance of the projects to the community "
"is very deliberate. <quote>We look at the things that the community can do "
"well, and we want to let them do those things,</quote> Stephen told us. "
"Instead, the foundation focuses its time and resources on what the community "
"cannot do as effectively, like the software engineering that supports the "
"technical infrastructure of the sites. In 2015-16, about half of the "
"foundation’s budget went to direct support for the Wikimedia sites."
msgstr ""
"Egenskapene til innholdet som fellesskapet lager er ideelt for asynkron "
"samproduksjon. <quote>Et leksikon er noe der trinnvis samfunnsforbedring "
"virkelig fungerer</quote>, fortalte Luis Villa, tidligere sjef for "
"fellesskapsengasjementet  (Chief Officer of Community Engagement) oss. "
"Regler og prosesser som styrer samproduksjonen på Wikipedia, og dets "
"søsterprosjekter er alle fellesskapsdrevet og varierer etter språkutgaven.  "
"Hele bøker er skrevet om vanskelighetene med systemene deres, men generelt "
"er det svært få unntak fra regelen om at alle kan redigere alle artikler, "
"selv uten en konto i systemet deres. Den omfattende peer-review prosessen "
"inkluderer omfattende systemer for å løse tvister, metoder for å håndtere "
"kontroversielle fagområder, en diskusjonsside som forklarer beslutninger, og "
"mye, mye mer. Wikimedia Foundations beslutning om å overlate styring av "
"prosjekter til fellesskapet er veldig bevisst. <quote>Vi ser på det "
"fellesskapet kan gjøre godt, og vi ønsker å la dem gjøre de tingene</quote>, "
"fortalte Stephen oss.  I stedet konsentrerer stiftelsen sin tid og ressurser "
"på hva samfunnet ikke kan gjøre effektivt, som å utvikle programvaren som "
"støtter nettstedenes tekniske infrastruktur. I 2015-2016 gikk omtrent "
"halvparten av stiftelsens budsjett til direkte støtte til  Wikimedias "
"nettsteder."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9329
msgid ""
"Some of that is directed at servers and general IT support, but the "
"foundation also invests a significant amount on architecture designed to "
"help the site function as effectively as possible.  <quote>There is a "
"constantly evolving system to keep the balance in place to avoid Wikipedia "
"becoming the world’s biggest graffiti wall,</quote> Luis said. Depending on "
"how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia "
"are positive. Some portion of that success is attributable to the tools "
"Wikimedia has in place to try to incentivize good actors.  <quote>The secret "
"to having any healthy community is bringing back the right people,</quote> "
"Luis said. <quote>Vandals tend to get bored and go away. That is partially "
"our model working, and partially just human nature.</quote> Most of the "
"time, people want to do the right thing."
msgstr ""
"Noe av det er rettet mot tjenermaskiner og generell IT-støtte, men Wikipedia "
"Foundation investerer betydelig i arkitektur som utformes for å bidra til at "
"nettstedet er så effektivt som mulig. <quote>Det er et system i stadig "
"utvikling for å holde balansen på plass  for å unngå at Wikipedia blir "
"verdens største graffitivegg</quote>, sa Luis. Avhengig av hvordan du måler "
"det, er et sted mellom 90 til 98 prosent av endringer på Wikipedia positive. "
"En del av den suksessen skyldes verktøyene Wikimedia har på plass for å "
"prøve å stimulere til god oppførsel. <quote>Hemmeligheten bak et sunt "
"fellesskap er å få de rette folkene til å komme tilbake</quote>, sa Luis. "
"<quote>Vandalene pleier å gå lei, og forsvinne. Det er delvis slik vår "
"modell arbeider, og delvis bare den menneskelige naturen</quote>. "
"Mesteparten av tiden ønsker folk å gjøre det som er riktig."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9345
msgid ""
"Wikipedia not only relies on good behavior within its community and on its "
"sites, but also by everyone else once the content leaves Wikipedia. All of "
"the text of Wikipedia is available under an Attribution-ShareAlike license "
"(CC BY-SA), which means it can be used for any purpose and modified so long "
"as credit is given and anything new is shared back with the public under the "
"same license. In theory, that means anyone can copy the content and start a "
"new Wikipedia. But as Stephen explained, <quote>Being open has only made "
"Wikipedia bigger and stronger. The desire to protect is not always what is "
"best for everyone.</quote>"
msgstr ""
"Wikipedia baserer seg ikke bare på god oppførsel i fellesskapet og på sine "
"nettsteder, men også hos alle andre når innholdet forlater Wikipedia. Hele "
"teksten i Wikipedia er tilgjengelig med en Attribution-ShareAlike-lisens (CC "
"BY-SA), som betyr at det kan brukes til alle formål, og endres så lenge "
"henvisning gis og alt nytt deles tilbake til offentligheten med samme "
"lisens. I teorien betyr det at alle kan kopiere innholdet og starte en ny "
"Wikipedia. Men som Stephen forklarte, <quote>Å være åpen har bare gjort "
"Wikipedia større og sterkere. Ønsket om å beskytte er ikke alltid det som er "
"best for alle</quote>."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9369
msgid ""
"<ulink url=\"http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-"
"mistakes/\"/>"
msgstr ""
"<ulink url=\"http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-"
"mistakes/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9357
msgid ""
"Of course, the primary reason no one has successfully co-opted Wikipedia is "
"that copycat efforts do not have the Wikipedia community to sustain what "
"they do. Wikipedia is not simply a source of up-to-the-minute content on "
"every given topic—it is also a global patchwork of humans working together "
"in a million different ways, in a million different capacities, for a "
"million different reasons. While many have tried to guess what makes "
"Wikipedia work as well it does, the fact is there is no single explanation. "
"<quote>In a movement as large as ours, there is an incredible diversity of "
"motivations,</quote> Stephen said. For example, there is one editor of the "
"English Wikipedia edition who has corrected a single grammatical error in "
"articles more than forty-eight thousand times.<placeholder type=\"footnote\" "
"id=\"0\"/> Only a fraction of Wikipedia users are also editors.  But editing "
"is not the only way to contribute to Wikipedia.  <quote>Some donate text, "
"some donate images, some donate financially,</quote> Stephen told us. "
"<quote>They are all contributors.</quote>"
msgstr ""
"Selvfølgelig er den primære årsaken til at ingen har lykkes i å lage sin "
"egen versjon av Wikipedia, er at kopieringsforsøkene ikke har Wikipedia-"
"fellesskapet til å holde ved like det de gjør. Wikipedia er ikke bare en "
"kilde til kontinuerlig oppdatert innhold for ethvert tema – det er også et "
"verdensomspennende lappeteppe av mennesker som jobber sammen på en million "
"forskjellige måter, med en million forskjellige utgangspunkt, av en million "
"forskjellige grunner. Mange har forsøkt å gjette hva som gjør Wikipedia-"
"arbeid så bra som det er, men det finnes ingen enkel forklaring. <quote>I en "
"bevegelse som er like stor som vår, er det et utrolig mangfold av "
"motivasjoner</quote>, sa Stephen. Det er for eksempel en redaktør av den "
"engelske Wikipedia-utgaven som har rettet en enkel grammatisk feil i "
"artikler mer enn førtiåtte tusen ganger.<placeholder type=\"footnote\" id="
"\"0\"/> Bare en brøkdel av Wikipedia-brukere er også redaktører. Redigering "
"er ikke den eneste måten å bidra til Wikipedia. <quote>Noen donerer tekst, "
"noen donerer bilder, noen donerer økonomisk</quote>, fortalte Stephen oss. "
"<quote>De er alle bidragsytere.</quote>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9376
msgid ""
"But the vast majority of us who use Wikipedia are not contributors; we are "
"passive readers. The Wikimedia Foundation survives primarily on individual "
"donations, with about $15 as the average. Because Wikipedia is one of the "
"ten most popular websites in terms of total page views, donations from a "
"small portion of that audience can translate into a lot of money. In the "
"2015-16 fiscal year, they received more than $77 million from more than five "
"million donors."
msgstr ""
"Men de aller fleste av oss som bruker Wikipedia er ikke bidragsytere; vi er "
"passive lesere. Wikimedia Foundation overlever hovedsakelig på individuelle "
"donasjoner, med ca. 15 dollar som gjennomsnittet. Da Wikipedia er en av de "
"ti mest populære nettstedene i totale sidevisninger, kan donasjoner fra en "
"liten del av målgruppen bety mange penger. I regnskapsåret 2015-2016 fikk de "
"mer enn 77 millioner dollar fra mer enn fem millioner givere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9386
msgid ""
"The foundation has a fund-raising team that works year-round to raise money, "
"but the bulk of their revenue comes in during the December campaign in "
"Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United "
"States. They engage in extensive user testing and research to maximize the "
"reach of their fund-raising campaigns. Their basic fund-raising message is "
"simple: We provide our readers and the world immense value, so give back. "
"Every little bit helps. With enough eyeballs, they are right."
msgstr ""
"Stiftelsen har et pengeinnsamlingsteam som arbeider året rundt med å samle "
"inn penger, men mesteparten av inntektene deres kommer inn under "
"desemberkampanjen i Australia, Canada, Irland, New Zealand, Storbritannia og "
"USA. De engasjere seg i omfattende sluttbrukertesting og forskning for å "
"maksimere rekkevidden av sine pengeinnsamlingskampanjer. Deres grunnleggende "
"pengeinnsamlingsbudskap er enkelt: Vi gir våre lesere og verden en enorm "
"verdi, så gi tilbake. Hver liten del hjelper. Med nok øyne har de rett."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9397
msgid ""
"The vision of the Wikimedia Foundation is a world in which every single "
"human being can freely share in the sum of all knowledge.  They work to "
"realize this vision by empowering people around the globe to create "
"educational content made freely available under an open license or in the "
"public domain. Stephen and Luis said the mission, which is rooted in the "
"same philosophy behind Creative Commons, drives everything the foundation "
"does."
msgstr ""
"Wikimedia Foundation er en verden der hvert eneste menneske fritt kan få del "
"i summen av kunnskap. De arbeider for å realisere denne visjonen ved å sette "
"folk over hele verden i stand til å gjøre pedagogisk innhold fritt "
"tilgjengelig med en åpen lisens, eller i det offentlige rom. Stephen og Luis "
"sa oppgaven, som er forankret i den samme filosofien som Creative Commons, "
"er grunnleggende for alt fondet gjør."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9406
msgid ""
"The philosophy behind the endeavor also enables the foundation to be "
"financially sustainable. It instills trust in their readership, which is "
"critical for a revenue strategy that relies on reader donations. It also "
"instills trust in their community."
msgstr ""
"Filosofien bak bestrebelse gjør også fondet i stand til å være økonomisk "
"bærekraftig. Det skaper tillit hos leserskaren, noe som er avgjørende for en "
"inntektsstrategi som bygger på lesernes donasjoner. Det inngir også tillit i "
"fellesskapet deres."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9412
msgid ""
"Any given edit on Wikipedia could be motivated by nearly an infinite number "
"of reasons. But the social mission of the project is what binds the global "
"community together. <quote>Wikipedia is an example of how a mission can "
"motivate an entire movement,</quote> Stephen told us."
msgstr ""
"Enhver enkeltstående endring på Wikipedia kan være motivert av nesten "
"uendelig ulike grunner. Men den sosiale oppdraget prosjektet har, er det som "
"binder det globale samfunnet sammen. <quote>Wikipedia er et eksempel på "
"hvordan et oppdrag kan motivere en hel bevegelse</quote>, fortalte Stephen "
"oss."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9419
msgid ""
"Of course, what results from that movement is one of the Internet’s great "
"public resources. <quote>The Internet has a lot of businesses and stores, "
"but it is missing the digital equivalent of parks and open public spaces,</"
"quote> Stephen said.  <quote>Wikipedia has found a way to be that open "
"public space.</quote>"
msgstr ""
"Selvfølgelig, resultatet fra bevegelsen er blitt en av Internetts store "
"offentlige ressurser. <quote>Internett har mange bedrifter og butikker, men "
"det mangler de digitale motstykkene til parker og åpne offentlige områder</"
"quote>, sa Stephen. <quote>Wikipedia har klart å bli et slikt åpent "
"offentlig område.</quote>"

#. type: Content of: <book><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9429
msgid "Bibliography"
msgstr "Bibliografi"

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9431
msgid ""
"Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next American "
"Revolution; Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up. White River Junction, VT: Chelsea Green, 2013."
msgstr ""
"Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next American "
"Revolution; Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up. White River Junction, VT: Chelsea Green, 2013."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9437
msgid ""
"Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface. New York: Hyperion, 2010."
msgstr ""
"Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface. New York: Hyperion, 2010."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9442
msgid "———. Makers: The New Industrial Revolution. New York: Signal, 2012."
msgstr "———. Makers: The New Industrial Revolution. New York: Signal, 2012."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9445
msgid ""
"Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions. Rev. ed. New York: Harper Perennial, 2010."
msgstr ""
"Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions. Oppdatert utgave. New York: Harper Perennial, 2010."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9449
msgid ""
"Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly Media, "
"2012."
msgstr ""
"Bacon, Jono. The Art of Community. Andre utgave. Sebastopol, CA: O’Reilly "
"Media, 2012."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9453
msgid ""
"Benkler, Yochai. The Wealth of Networks: How Social Production Transforms "
"Markets and Freedom. New Haven: Yale University Press, 2006.  <ulink url="
"\"http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf\"/> (licensed under "
"CC BY-NC-SA)."
msgstr ""
"Benkler, Yochai. The Wealth of Networks: How Social Production Transforms "
"Markets and Freedom. New Haven: Yale University Press, 2006.  <ulink url="
"\"http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf\"/> (lisensiert med "
"CC BY-NC-SA)."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9460
msgid ""
"Benyayer, Louis-David, ed. Open Models: Business Models of the Open Economy. "
"Cachan, France: Without Model, 2016.  <ulink url=\"http://www.slideshare.net/"
"WithoutModel/open-models-book-64463892\"/> (licensed under CC BY-SA)."
msgstr ""
"Benyayer, Louis-David, ed. Open Models: Business Models of the Open Economy. "
"Cachan, France: Without Model, 2016.  <ulink url=\"http://www.slideshare.net/"
"WithoutModel/open-models-book-64463892\"/> (lisensiert med CC BY-SA)."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9466
msgid ""
"Bollier, David. Commoning as a Transformative Social Paradigm. Paper "
"commissioned by the Next Systems Project. Washington, DC: Democracy "
"Collaborative, 2016.  <ulink url=\"http://thenextsystem.org/commoning-as-a-"
"transformative-social-paradigm/\"/>."
msgstr ""
"Bollier, David. Commoning as a Transformative Social Paradigm. Paper "
"commissioned by the Next Systems Project. Washington, DC: Democracy "
"Collaborative, 2016.  <ulink url=\"http://thenextsystem.org/commoning-as-a-"
"transformative-social-paradigm/\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9472
msgid ""
"———. Think Like a Commoner: A Short Introduction to the Life of the Commons. "
"Gabriola Island, BC: New Society, 2014."
msgstr ""
"———. Think Like a Commoner: A Short Introduction to the Life of the Commons. "
"Gabriola Island, BC: New Society, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9476
msgid ""
"Bollier, David, and Pat Conaty. Democratic Money and Capital for the "
"Commons: Strategies for Transforming Neoliberal Finance through Commons-"
"Based Alternatives. A report on a Commons Strategies Group Workshop in "
"cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.  "
"<ulink url=\"http://bollier.org/democratic-money-and-capital-commons-report-"
"pdf\"/>.  For more information, see <ulink url=\"http://bollier.org/blog/"
"democratic-money-and-capital-commons\"/>."
msgstr ""
"Bollier, David, and Pat Conaty. Democratic Money and Capital for the "
"Commons: Strategies for Transforming Neoliberal Finance through Commons-"
"Based Alternatives. A report on a Commons Strategies Group Workshop in "
"cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.  "
"<ulink url=\"http://bollier.org/democratic-money-and-capital-commons-report-"
"pdf\"/>.  For mer informasjon, se <ulink url=\"http://bollier.org/blog/"
"democratic-money-and-capital-commons\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9486
msgid ""
"Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A World "
"Beyond Market and State. Amherst, MA: Levellers Press, 2012."
msgstr ""
"Bollier, David, og Silke Helfrich, red. The Wealth of the Commons: A World "
"Beyond Market and State. Amherst, MA: Levellers Press, 2012."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9490
msgid ""
"Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of "
"Collaborative Consumption. New York: Harper Business, 2010."
msgstr ""
"Botsman, Rachel, og Roo Rogers. What’s Mine Is Yours: The Rise of "
"Collaborative Consumption. New York: Harper Business, 2010."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9494
msgid ""
"Boyle, James. The Public Domain: Enclosing the Commons of the Mind.  New "
"Haven: Yale University Press, 2008."
msgstr ""
"Boyle, James. The Public Domain: Enclosing the Commons of the Mind.  New "
"Haven: Yale University Press, 2008."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9497
msgid ""
"<ulink url=\"http://www.thepublicdomain.org/download/\"/> (licensed under CC "
"BY-NC-SA)."
msgstr ""
"<ulink url=\"http://www.thepublicdomain.org/download/\"/> (lisensiert med CC "
"BY-NC-SA)."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9501
msgid ""
"Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community. Oakland, CA: Berrett-Koehler, 2015."
msgstr ""
"Capra, Fritjof, og Ugo Mattei. The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community. Oakland, CA: Berrett-Koehler, 2015."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9506
msgid ""
"Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation "
"Landscape. Boston: Harvard Business School Press, 2006."
msgstr ""
"Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation "
"Landscape. Boston: Harvard Business School Press, 2006."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9510
msgid ""
"———. Open Innovation: The New Imperative for Creating and Profiting from "
"Technology. Boston: Harvard Business Review Press, 2006."
msgstr ""
"———. Open Innovation: The New Imperative for Creating and Profiting from "
"Technology. Boston: Harvard Business Review Press, 2006."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9514
msgid ""
"City of Bologna. Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons. Translated by LabGov "
"(LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna, "
"2014).  <ulink url=\"http://www.labgov.it/wp-content/uploads/sites/9/Bologna-"
"Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-"
"regeneration-of-urban-commons1.pdf\"/>."
msgstr ""
"City of Bologna. Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons. Oversatt av LabGov "
"(LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna, "
"2014).  <ulink url=\"http://www.labgov.it/wp-content/uploads/sites/9/Bologna-"
"Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-"
"regeneration-of-urban-commons1.pdf\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9521
msgid ""
"Cole, Daniel H. <quote>Learning from Lin: Lessons and Cautions from the "
"Natural Commons for the Knowledge Commons.</quote> Chap. 2 in Frischmann, "
"Madison, and Strandburg, Governing Knowledge Commons."
msgstr ""
"Cole, Daniel H. <quote>Learning from Lin: Lessons and Cautions from the "
"Natural Commons for the Knowledge Commons.</quote> Kapittel 2 i Frischmann, "
"Madison, og Strandburg, Governing Knowledge Commons."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9526
msgid ""
"Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative "
"Commons, 2015.  <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."
msgstr ""
"Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative "
"Commons, 2015.  <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9531
msgid ""
"Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet "
"Age. San Francisco: McSweeney’s, 2014."
msgstr ""
"Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet "
"Age. San Francisco: McSweeney’s, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9535
msgid ""
"Eckhardt, Giana, and Fleura Bardhi. <quote>The Sharing Economy Isn’t about "
"Sharing at All.</quote> Harvard Business Review, January 28, 2015.  <ulink "
"url=\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/"
">."
msgstr ""
"Eckhardt, Giana, og Fleura Bardhi. <quote>The Sharing Economy Isn’t about "
"Sharing at All.</quote> Harvard Business Review, January 28, 2015.  <ulink "
"url=\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/"
">."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9541
msgid ""
"Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge: "
"Confronting the Commodification of Human Discovery.  Regina, SK: University "
"of Regina Press, 2015.  <ulink url=\"http://uofrpress.ca/publications/Free-"
"Knowledge\"/> (licensed under CC BY-NC-ND)."
msgstr ""
"Elliott, Patricia W., og Daryl H. Hepting, red. (2015). Free Knowledge: "
"Confronting the Commodification of Human Discovery.  Regina, SK: University "
"of Regina Press, 2015.  <ulink url=\"http://uofrpress.ca/publications/Free-"
"Knowledge\"/> (lisensiert med CC BY-NC-ND)."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9548
msgid ""
"Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan Hoover. "
"New York: Portfolio, 2014."
msgstr ""
"Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan Hoover. "
"New York: Portfolio, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9552
msgid ""
"Farley, Joshua, and Ida Kubiszewski. <quote>The Economics of Information in "
"a Post-Carbon Economy.</quote> Chap. 11 in Elliott and Hepting, Free "
"Knowledge."
msgstr ""
"Farley, Joshua, og Ida Kubiszewski. <quote>The Economics of Information in a "
"Post-Carbon Economy.</quote> Kapittel 11 in Elliott and Hepting, Free "
"Knowledge."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9557
msgid ""
"Foster, William Landes, Peter Kim, and Barbara Christiansen.  <quote>Ten "
"Nonprofit Funding Models.</quote> Stanford Social Innovation Review, Spring "
"2009.  <ulink url=\"http://ssir.org/articles/entry/"
"ten_nonprofit_funding_models\"/>."
msgstr ""
"Foster, William Landes, Peter Kim, og Barbara Christiansen. <quote>Ten "
"Nonprofit Funding Models.</quote> Stanford Social Innovation Review, Spring "
"2009.  <ulink url=\"http://ssir.org/articles/entry/"
"ten_nonprofit_funding_models\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9563
msgid ""
"Frischmann, Brett M. Infrastructure: The Social Value of Shared Resources. "
"New York: Oxford University Press, 2012."
msgstr ""
"Frischmann, Brett M. Infrastructure: The Social Value of Shared Resources. "
"New York: Oxford University Press, 2012."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9567
msgid ""
"Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg, eds. "
"Governing Knowledge Commons. New York: Oxford University Press, 2014."
msgstr ""
"Frischmann, Brett M., Michael J. Madison, og Katherine J.  Strandburg, red. "
"Governing Knowledge Commons. New York: Oxford University Press, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9572
msgid ""
"Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg. "
"<quote>Governing Knowledge Commons.</quote> Chap. 1 in Frischmann, Madison, "
"and Strandburg, Governing Knowledge Commons."
msgstr ""
"Frischmann, Brett M., Michael J. Madison, og Katherine J.  Strandburg. "
"<quote>Governing Knowledge Commons.</quote> Kapittel 1 i Frischmann, "
"Madison, og Strandburg, Governing Knowledge Commons."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9577
msgid ""
"Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing.  Reprint with "
"new epilogue. New York: Portfolio, 2012."
msgstr ""
"Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing.  Nyutgivelse "
"med ny epolog. New York: Portfolio, 2012."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9581
msgid ""
"Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New "
"York: Viking, 2013."
msgstr ""
"Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New "
"York: Viking, 2013."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9585
msgid ""
"Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons. New York: Zed Books, 2014."
msgstr ""
"Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons. New York: Zed Books, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9589
msgid ""
"Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the "
"Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012."
msgstr ""
"Harris, Malcom, red. Share or Die: Voices of the Get Lost Generation in the "
"Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9594
msgid ""
"Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto: "
"Doubleday Canada, 2014."
msgstr ""
"Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto: "
"Doubleday Canada, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9598
msgid ""
"Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York: "
"Farrar, Straus and Giroux, 2010."
msgstr ""
"Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York: "
"Farrar, Straus and Giroux, 2010."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9602
msgid ""
"———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage "
"Books edition. New York: Vintage Books, 2007."
msgstr ""
"———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage "
"Books edition. New York: Vintage Books, 2007."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9606
msgid ""
"Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential "
"within Us All. New York: Crown, 2013."
msgstr ""
"Kelley, Tom, og David Kelley. Creative Confidence: Unleashing the Potential "
"within Us All. New York: Crown, 2013."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9610
msgid ""
"Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012."
msgstr ""
"Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9615
msgid ""
"Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered. New York: Workman, 2014."
msgstr ""
"Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered. New York: Workman, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9619
msgid ""
"———. Steal Like an Artist: 10 Things Nobody Told You about Being Creative. "
"New York: Workman, 2012."
msgstr ""
"———. Steal Like an Artist: 10 Things Nobody Told You about Being Creative. "
"New York: Workman, 2012."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9623
msgid ""
"Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New "
"York: Morgan James, 2016."
msgstr ""
"Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New "
"York: Morgan James, 2016."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9627
msgid ""
"Lee, David. <quote>Inside Medium: An Attempt to Bring Civility to the "
"Internet.</quote> BBC News, March 3, 2016.  <ulink url=\"http://www.bbc.com/"
"news/technology-35709680\"/>"
msgstr ""
"Lee, David. <quote>Inside Medium: An Attempt to Bring Civility to the "
"Internet.</quote> BBC News, 2016-03-03.  <ulink url=\"http://www.bbc.com/"
"news/technology-35709680\"/>"

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9632
msgid ""
"Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid "
"Economy. New York: Penguin Press, 2008."
msgstr ""
"Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid "
"Economy. New York: Penguin Press, 2008."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9636
msgid ""
"Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and "
"Manifesto. Gabriola Island, BC: New Society, 2014."
msgstr ""
"Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and "
"Manifesto. Gabriola Island, BC: New Society, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9640
msgid ""
"Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus "
"and Giroux, 2015."
msgstr ""
"Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus "
"and Giroux, 2015."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9644
msgid ""
"New York Times Customer Insight Group. The Psychology of Sharing: Why Do "
"People Share Online? New York: New York Times Customer Insight Group, 2011.  "
"<ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."
msgstr ""
"New York Times Customer Insight Group. The Psychology of Sharing: Why Do "
"People Share Online? New York: New York Times Customer Insight Group, 2011.  "
"<ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9650
msgid ""
"Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken, "
"NJ: John Wiley and Sons, 2010. A preview of the book is available at <ulink "
"url=\"http://strategyzer.com/books/business-model-generation\"/>."
msgstr ""
"Osterwalder, Alex, og Yves Pigneur. Business Model Generation.  Hoboken, NJ: "
"John Wiley and Sons, 2010. En forhåndsvisning av boken er tilgjengelig fra "
"<ulink url=\"http://strategyzer.com/books/business-model-generation\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9656
msgid ""
"Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value "
"Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the "
"book is available at <ulink url=\"http://strategyzer.com/books/value-"
"proposition-design\"/>."
msgstr ""
"Osterwalder, Alex, Yves Pigneur, Greg Bernarda, og Adam Smith.  Value "
"Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. En "
"forhåndsvisning av denne boken er tilgjengelig fra <ulink url=\"http://"
"strategyzer.com/books/value-proposition-design\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9662
msgid ""
"Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help. New York: Grand Central, 2014."
msgstr ""
"Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help. New York: Grand Central, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9666
msgid ""
"Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make "
"Available Their Highest Quality Material without Restrictions, and What Are "
"the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <ulink url="
"\"http://pro.europeana.eu/publication/democratising-the-rijksmuseum\"/> "
"(licensed under CC BY-SA)."
msgstr ""
"Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make "
"Available Their Highest Quality Material without Restrictions, and What Are "
"the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <ulink url="
"\"http://pro.europeana.eu/publication/democratising-the-rijksmuseum\"/> "
"(lisensiert med CC BY-SA)."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9674
msgid ""
"Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne, "
"Australia: Commons Transition Coalition, 2016.  <ulink url=\"http://www."
"academia.edu/27143172/The_City_as_Commons_a_Policy_Reader\"/> (licensed "
"under CC BY-NC-ND)."
msgstr ""
"Ramos, José Maria, red. The City as Commons: A Policy Reader.  Melbourne, "
"Australia: Commons Transition Coalition, 2016.  <ulink url=\"http://www."
"academia.edu/27143172/The_City_as_Commons_a_Policy_Reader\"/> (lisensiert "
"med CC BY-NC-ND)."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9680
msgid ""
"Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open "
"Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly "
"Media, 2001. See esp. <quote>The Magic Cauldron.</quote> <ulink url=\"http://"
"www.catb.org/esr/writings/cathedral-bazaar/\"/>."
msgstr ""
"Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open "
"Source by an Accidental Revolutionary. Revidert utgave. Sebastopol, CA: "
"O’Reilly Media, 2001. Se spesielt <quote>The Magic Cauldron.</quote> <ulink "
"url=\"http://www.catb.org/esr/writings/cathedral-bazaar/\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9686
msgid ""
"Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous "
"Innovation to Create Radically Successful Businesses. New York: Crown "
"Business, 2011."
msgstr ""
"Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous "
"Innovation to Create Radically Successful Businesses. New York: Crown "
"Business, 2011."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9691
msgid ""
"Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave "
"Macmillan, 2014."
msgstr ""
"Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave "
"Macmillan, 2014."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9696
msgid ""
"Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013."
msgstr ""
"Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9700
msgid ""
"Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the "
"Enemy of Prosperity. New York: Portfolio, 2016."
msgstr ""
"Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the "
"Enemy of Prosperity. New York: Portfolio, 2016."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9704
msgid ""
"Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New "
"York: Farrar, Straus and Giroux, 2012."
msgstr ""
"Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New "
"York: Farrar, Straus and Giroux, 2012."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9708
msgid ""
"Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators. London, England: Penguin Books, 2010."
msgstr ""
"Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators. London, England: Penguin Books, 2010."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9712
msgid ""
"Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR "
"Books, 2015."
msgstr ""
"Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR "
"Books, 2015."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9716
msgid ""
"Stephany, Alex. The Business of Sharing: Making in the New Sharing Economy. "
"New York: Palgrave Macmillan, 2015."
msgstr ""
"Stephany, Alex. The Business of Sharing: Making in the New Sharing Economy. "
"New York: Palgrave Macmillan, 2015."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9720
msgid ""
"Stepper, John. Working Out Loud: For a Better Career and Life. New York: "
"Ikigai Press, 2015."
msgstr ""
"Stepper, John. Working Out Loud: For a Better Career and Life. New York: "
"Ikigai Press, 2015."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9724
msgid ""
"Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a "
"Complex World. Boston: Houghton Mifflin Harcourt, 2015."
msgstr ""
"Sull, Donald, og Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a "
"Complex World. Boston: Houghton Mifflin Harcourt, 2015."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9728
msgid ""
"Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise "
"of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016."
msgstr ""
"Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise "
"of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9732
msgid "Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005."
msgstr "Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9736
msgid ""
"Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology "
"Behind Bitcoin Is Changing Money, Business, and the World. Toronto: "
"Portfolio, 2016."
msgstr ""
"Tapscott, Don, og Alex Tapscott. Blockchain Revolution: How the Technology "
"Behind Bitcoin Is Changing Money, Business, and the World. Toronto: "
"Portfolio, 2016."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9741
msgid ""
"Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark "
"Reiter. New York: Simon and Schuster, 2006."
msgstr ""
"Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark "
"Reiter. New York: Simon and Schuster, 2006."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9745
msgid ""
"Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago: "
"University of Chicago Press, 2015."
msgstr ""
"Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago: "
"University of Chicago Press, 2015."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9749
msgid ""
"Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open "
"Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers, "
"with Creative Commons Netherlands; Premsela, the Netherlands Institute for "
"Design and Fashion; and the Waag Society, 2011. <ulink url=\"http://"
"opendesignnow.org\"/> (licensed under CC BY-NC-SA)."
msgstr ""
"Van Abel, Bass, Lucas Evers, Roel Klaassen, og Peter Troxler, red.  Open "
"Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers, "
"med Creative Commons Netherlands; Premsela, the Netherlands Institute for "
"Design and Fashion; og the Waag Society, 2011. <ulink url=\"http://"
"opendesignnow.org\"/> (lisensiert med CC BY-NC-SA)."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9757
msgid ""
"Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society "
"3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  <ulink url="
"\"http://society30.com/get-the-book/\"/> (licensed under CC BY-NC-ND)."
msgstr ""
"Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society "
"3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  <ulink url="
"\"http://society30.com/get-the-book/\"/> (lisensiert med CC BY-NC-ND)."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9763
msgid ""
"Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <ulink "
"url=\"http://web.mit.edu/evhippel/www/democ1.htm\"/> (licensed under CC BY-"
"NC-ND)."
msgstr ""
"Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <ulink "
"url=\"http://web.mit.edu/evhippel/www/democ1.htm\"/> (lisensiert med CC BY-"
"NC-ND)."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9768
msgid ""
"Whitehurst, Jim. The Open Organization: Igniting Passion and Performance. "
"Boston: Harvard Business Review Press, 2015."
msgstr ""
"Whitehurst, Jim. The Open Organization: Igniting Passion and Performance. "
"Boston: Harvard Business Review Press, 2015."

#. type: Content of: <book><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9773
msgid "Acknowledgments"
msgstr "Takk til"

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9775
msgid ""
"We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative "
"Commons Board, and all of our Creative Commons colleagues for "
"enthusiastically supporting our work. Special gratitude to the William and "
"Flora Hewlett Foundation for the initial seed funding that got us started on "
"this project."
msgstr ""
"Vi vil spesielt takke daglig leder for Creative Commons Ryan Merkley, styret "
"for Creative Commons, og alle våre kolleger for deres entusiastiske støtte "
"til vårt arbeid. En spesiell takk til William and Flora Hewlett Foundation "
"for startstøtten som fikk oss i gang med prosjektet."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9782
msgid ""
"Huge appreciation to all the Made with Creative Commons interviewees for "
"sharing their stories with us. You make the commons come alive.  Thanks for "
"the inspiration."
msgstr ""
"En stor takk til alle de intervjuede i Creative Commons-lisensiert for å ha "
"delt sine historier med oss.  Dere gir liv til allmenningen.  Tusen takk for "
"inspirasjonen."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9787
msgid ""
"We interviewed more than the twenty-four organizations profiled in this "
"book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium "
"for sharing their stories with us. While not featured as case studies in "
"this book, you all are equally interesting, and we encourage our readers to "
"visit your sites and explore your work."
msgstr ""
"Vi intervjuet  flere enn de tjuefire organisasjoner som er omtalt i denne "
"boken.  Vi sender spesielt takk til Gooru, OERu, Sage Bionetworks, og Medium "
"for å ha delt sine historier med oss.  Selv om de ikke er med i "
"referansestudiene i denne boken, så er hver og en av dere like interessante, "
"og vi vil oppmuntre våre lesere til å besøke nettstedene deres og utforske "
"det de har gjort."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9795
msgid ""
"This book was made possible by the generous support of 1,687 Kickstarter "
"backers listed below. We especially acknowledge our many Kickstarter co-"
"editors who read early drafts of our work and provided invaluable feedback. "
"Heartfelt thanks to all of you."
msgstr ""
"Denne boken ble mulig takket være den generøse støtten til de 1 687 "
"Kickstarter-støttespillerne som er listet opp under.  Vi vil spesielt takke "
"våre mange med-redaktører som leste tidlige utkast av verket vårt og ga "
"uvurderlige tilbakemeldinger.  Ektefølt takk til dere alle."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9801
msgid ""
"Co-editor Kickstarter backers (alphabetically by first name): Abraham "
"Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton, "
"Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd "
"Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock, "
"Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper, "
"Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle, "
"Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative "
"Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado, "
"Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David "
"Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi "
"Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder, "
"Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix "
"Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin "
"Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis "
"Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan, "
"Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie "
"Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M "
"Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme "
"Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty, "
"Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John "
"Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos "
"Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie "
"Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen, "
"Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos "
"Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi "
"Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley, "
"MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black, "
"Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem "
"Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike "
"Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall "
"McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman, "
"Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter, "
"Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny "
"Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv "
"Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones, "
"Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle, "
"Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott "
"Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio, "
"Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun, "
"Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent, "
"Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue, "
"Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh, "
"William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque, "
"Yancey Strickler"
msgstr ""
"Medredaktør-støttespillere fra Kickstarter (alfabetisk på fornavn): Abraham "
"Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton, "
"Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd "
"Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock, "
"Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper, "
"Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle, "
"Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative "
"Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado, "
"Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David "
"Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi "
"Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder, "
"Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix "
"Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin "
"Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis "
"Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan, "
"Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie "
"Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M "
"Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme "
"Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty, "
"Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John "
"Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos "
"Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie "
"Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen, "
"Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos "
"Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi "
"Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley, "
"MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black, "
"Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem "
"Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike "
"Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall "
"McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman, "
"Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter, "
"Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny "
"Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv "
"Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones, "
"Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle, "
"Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott "
"Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio, "
"Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun, "
"Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent, "
"Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue, "
"Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh, "
"William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque, "
"Yancey Strickler."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9852
msgid ""
"All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron "
"C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham "
"Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter, "
"Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman, "
"Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain "
"Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert "
"O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex "
"Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown, "
"Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar, "
"Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre "
"Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro, "
"Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison "
"Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan "
"Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith, "
"Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare, "
"Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André "
"Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen, "
"Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas "
"Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew "
"Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew "
"Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy "
"Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott, "
"Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton "
"Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21 "
"publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz, "
"Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon, "
"Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin "
"Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel "
"Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton, "
"Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben "
"Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini, "
"Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir, "
"Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth "
"Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill "
"Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker, "
"Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo "
"Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak, "
"Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford "
"Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka "
"Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel, "
"Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian "
"S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke "
"Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan "
"Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun "
"Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron "
"Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook, "
"Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu, "
"Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long, "
"Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff, "
"Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford, "
"Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile, "
"@ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler, "
"Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt, "
"Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano, "
"Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh, "
"Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote "
"(Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris "
"Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber, "
"Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger, "
"Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum, "
"Christian Wachter, Christina Bennett, Christine Henry, Christine Rico, "
"Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris, "
"Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof, "
"Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio "
"Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint "
"Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin "
"Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie "
"Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory "
"Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney, "
"Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini, "
"Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei, "
"Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana "
"Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez, "
"Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado, "
"Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein, "
"Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario "
"Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova, "
"Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave "
"Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David "
"Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam, "
"David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David "
"Mcconville, David Mikula, David Nelson, David Orban, David Parry, David "
"Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah "
"Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek "
"Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane K. "
"Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La Cruz, "
"Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun, Dirk "
"Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz, Dom "
"Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique Karadjian, "
"Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug Hoover, "
"Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr. Braddlee, Drew "
"Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon "
"Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo "
"Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder, Elar "
"Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun, Elizabeth "
"Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli Verhulst, Elroy "
"Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique Mandujano R., Eric "
"Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric Hellman, Eric "
"Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard, Erika Reid, "
"Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan Bousse, Erwin "
"Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman, Evonne "
"Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton Software, Felix "
"Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix Schmidt, Felix "
"Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe Rodrigues, "
"Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer, Florent "
"Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot Games, "
"Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois Grey, "
"François Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric "
"Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel Staples, "
"Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath, Gary "
"Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de "
"Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George "
"Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman, "
"Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco, "
"Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives "
"Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman, "
"Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg "
"Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn, "
"Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho "
"Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T "
"Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de "
"Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry "
"Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen "
"Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach "
"Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser, "
"Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne, "
"Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian "
"Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider, "
"Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah "
"Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek "
"Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla, "
"Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach, "
"James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James "
"Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol, "
"Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park, "
"Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason E. "
"Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear "
"Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe "
"Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De Cagna, Jeff "
"Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff Rasalla, Jeff Ski "
"Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen Garcia, Jens Erat, "
"Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell, Jeremy Sabo, Jeremy "
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"Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant, Kara Monroe, Karen Pe, "
"Karl Jahn, Karl Jonsson, Karl Nelson, Kasia Zygmuntowicz, Kat Lim, Kate "
"Chapman, Kate Stewart, Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab, "
"Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek, "
"Katie Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams, "
"Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis Larsen, "
"Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry Hicks, Kevin "
"Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin Shannon, Kevin Taylor, "
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"Kadekoppa, Kit Walsh, Klaus Mickus, Konrad Rennert, Kris Kasianovitz, "
"Kristian Lundquist, Kristin Buxton, Kristina Popova, Kristofer Bratt, "
"Kristoffer Steen, Kumar McMillan, Kurt Whittemore, Kyle Pinches, Kyle "
"Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry Garfield, Larry Singer, "
"Lars Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura "
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"II, Markus Deimann, Markus Jaritz, Markus Luethi, Marshal Miller, Marshall "
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"ZeMarmot Open Movie"
msgstr ""
"Alle de som støttet via Kickstarter (alfabetisk etter fornavn): A.  Lee, "
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"Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois Grey, "
"François Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric "
"Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel Staples, "
"Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath, Gary "
"Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de "
"Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George "
"Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman, "
"Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco, "
"Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives "
"Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman, "
"Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg "
"Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn, "
"Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho "
"Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T "
"Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de "
"Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry "
"Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen "
"Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach "
"Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser, "
"Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne, "
"Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian "
"Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider, "
"Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah "
"Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek "
"Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla, "
"Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach, "
"James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James "
"Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol, "
"Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park, "
"Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason E. "
"Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear "
"Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe "
"Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De Cagna, Jeff "
"Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff Rasalla, Jeff Ski "
"Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen Garcia, Jens Erat, "
"Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell, Jeremy Sabo, Jeremy "
"Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret, Jessica Dickinson "
"Goodman, Jessica Litman, Jessica Mackay, Jessy Kate Schingler, Jesús Longás "
"Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini, "
"Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon LeBlanc, "
"Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen, Joan Rieu, Joanna "
"Penn, João Almeida, Jochen Muetsch, Jodi Sandfort, Joe Cardillo, Joe "
"Carpita, Joe Moross, Joerg Fricke, Johan Adda, Johan Meeusen, Johannes "
"Förstner, Johannes Visintini, John Benfield, John Bevan, John C Patterson, "
"John Crumrine, John Dimatos, John Feyler, John Huntsman, John Manoogian III, "
"John Muller, John Ober, John Paul Blodgett, John Pearce, John Shale, John "
"Sharp, John Simpson, John Sumser, John Weeks, John Wilbanks, John Worland, "
"Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon Andersen, Jon Cohrs, Jon "
"Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg, Jonas "
"Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst, Jonathan Lin, "
"Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg Schwarz, Jose Antonio "
"Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph Sullivan, Joseph "
"Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP Rangaswami, Juan Carlos "
"Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo Marin Diaz, Judith "
"Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter, Julia Devonshire, "
"Julian Fietkau, Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen, "
"Julio Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin Jones, "
"Justin Szlasa, Justin Walsh, JustinChung.com, K. J.  Przybylski, Kaloyan "
"Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant, Kara Monroe, Karen Pe, "
"Karl Jahn, Karl Jonsson, Karl Nelson, Kasia Zygmuntowicz, Kat Lim, Kate "
"Chapman, Kate Stewart, Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab, "
"Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek, "
"Katie Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams, "
"Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis Larsen, "
"Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry Hicks, Kevin "
"Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin Shannon, Kevin Taylor, "
"Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l’Azin, Kianosh Pourian, Kiran "
"Kadekoppa, Kit Walsh, Klaus Mickus, Konrad Rennert, Kris Kasianovitz, "
"Kristian Lundquist, Kristin Buxton, Kristina Popova, Kristofer Bratt, "
"Kristoffer Steen, Kumar McMillan, Kurt Whittemore, Kyle Pinches, Kyle "
"Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry Garfield, Larry Singer, "
"Lars Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura "
"Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent Muchacho, Laurie "
"Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro Pangilinan, Leigh "
"Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini, leonardo menegola, "
"Lesley Mitchell, Leslie Krumholz, Leticia Britos Cavagnaro, Levi Bostian, "
"Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir Marques, Lior Mazliah, Lisa "
"Bjerke, Lisa Brewster, Lisa Canning, Lisa Cronin, Lisa Di Valentino, "
"Lisandro Gaertner, Livia Leskovec, Liynn Worldlaw, Liz Berg, Liz White, "
"Logan Cox, Loki Carbis, Lora Lynn, Lorna Prescott, Lou Yufan, Louie "
"Amphlett, Louis-David Benyayer, Louise Denman, Luca Corsato, Luca Lesinigo, "
"Luca Palli, Luca Pianigiani, Luca S.G. de Marinis, Lucas Lopez, Lukas "
"Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury, Lulu Tang, Lydia "
"Pintscher, M Alexander Jurkat, Maarten Sander, Macie J Klosowski, Magnus "
"Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh, Maik Schmalstich, Maiken "
"Håvarstein, Maira Sutton, Mairi Thomson, Mandy Wultsch, Manickkavasakam "
"Rajasekar, Marc Bogonovich, Marc Harpster, Marc Martí, Marc Olivier Bastien, "
"Marc Stober, Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia "
"Hofmann, Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales, "
"Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary, Mari "
"Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez, Mario Lurig, "
"Mario R. Hemsley, MD, Marissa Demers, Mark Chandler, Mark Cohen, Mark De "
"Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky, Mark Kupfer, Mark "
"Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark Murphy, Mark Perot, "
"Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark Waks, Mark Zuccarell "
"II, Markus Deimann, Markus Jaritz, Markus Luethi, Marshal Miller, Marshall "
"Warner, Martijn Arets, Martin Beaudoin, Martin Decky, Martin DeMello, Martin "
"Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco, Martti "
"Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis, Mary Heacock, "
"Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo V.A. Manzari, Mathias "
"Bavay, Mathias Nicolajsen Kjærgaard, Matias Kruk, Matija Nalis, Matt Alcock, "
"Matt Black, Matt Broach, Matt Hall, Matt Haughey, Matt Lee, Matt Plec, Matt "
"Skoss, Matt Thompson, Matt Vance, Matt Wagstaff, Matteo Cocco, Matthew "
"Bendert, Matthew Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken, "
"Matthew Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy, "
"Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green, Max "
"Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric Droz-dit-Busset, "
"Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa Aho, Melissa Sterry, "
"Melle Funambuline, Menachem Goldstein, Micah Bridges, Michael Ailberto, "
"Michael Anderson, Michael Andersson Skane, Michael C. Stewart, Michael "
"Carroll, Michael Cavette, Michael Crees, Michael David Johas Teener, Michael "
"Dennis Moore, Michael Freundt Karlsen, Michael Harries, Michael Hawel, "
"Michael Lewis, Michael May, Michael Murphy, Michael Murvine, Michael "
"Perkins, Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley, "
"Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas Kuttner, "
"Michaela Voigt, Michal Rosenn, Michał Szymański, Michel Gallez, Michell "
"Zappa, Michelle Heeyeon You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike "
"Chelen, Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike "
"Pouraryan, Mike Sheldon, Mike Stop Continues, Mike Stringer, Mike "
"Wittenstein, Mikkel Ovesen, Mikołaj Podlaszewski, Millie Gonzalez, Mindi "
"Lovell, Mindy Lin, Mirko <quote>Macro</quote> Fichtner, Mitch Featherston, "
"Mitchell Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan "
"Loomis, Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, "
"MD, Myk Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, "
"Nah Wee Yang, Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, "
"Nathan Miller, Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, "
"Nele Wollert, Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, "
"Nicholas Bentley, Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick "
"Bell, Nick Coghlan, Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay "
"Vedernikov, Nicky Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole "
"Hickman, Niek Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, "
"Nikola Chernev, Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-"
"Fein, Noah Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, "
"Ohad Mayblum, Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle "
"Ahnve, Omar Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, "
"Pablo López Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp "
"István Péter, Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat "
"Hawks, Pat Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia "
"Wolf, Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, "
"Patrick McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, "
"Patrik Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul "
"Bailey, Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul "
"Jacobson, Paul Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, "
"Peeter Sällström Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per "
"Åström, Perry Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter "
"Jenkins, Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, "
"Peter O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, "
"Petr Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip "
"Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer, "
"Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels, "
"Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill, "
"Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer, "
"Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani, "
"Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël "
"Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar, "
"Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich "
"McCue, Richard <quote>TalkToMeGuy</quote> Olson, Richard Best, Richard "
"Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly, "
"Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik "
"ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley, "
"Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob "
"Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert "
"Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert R. "
"Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto "
"Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon, "
"Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and "
"Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald "
"Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay, "
"Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert "
"Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute "
"Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan "
"Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin "
"Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin, Samantha-"
"Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel A. Rebelsky, "
"Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira Cersosimo, "
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"Hatfield, Sheldon (Vila) Widuch, Sheona Thomson, Si Jie, Sicco van Sas, "
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"Simon Linder, Simon Moffitt, Solomon Kahn, Solomon Simon, Soujanna Sarkar, "
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"Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan Meißl, Stéphane "
"Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey, Stephen Pearce, "
"Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson, Steve Battle, "
"Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve Ingram, Steve Kroy, "
"Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven Knudsen, Steven Melvin, "
"Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart Maxwell, Stuart Reich, "
"Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun, Susan R Grossman, Suzie "
"Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle, Sylvain Chery, Sylvia "
"Green, Sylvia van Bruggen, Szabolcs Berecz, T. L. Mason, Tanbir Baeg, Tanya "
"Hart, Tara Tiger Brown, Tara Westover, Tarmo Toikkanen, Tasha Turner "
"Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan, Teresa Gonczy, Terry "
"Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo, Thibault Badenas, "
"Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas Chang, Thomas Hartman, "
"Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds, Thomas Thrush, Thomas "
"Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim Chambers, Tim Cook, Tim "
"Evers, Tim Nichols, Tim Stahmer, Timothée Planté, Timothy Arfsten, Timothy "
"Hinchliff, Timothy Vollmer, Tina Coffman, Tisza Gergő, Tobias Schonwetter, "
"Todd Brown, Todd Pousley, Todd Sattersten, Tom Bamford, Tom Caswell, Tom "
"Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom Merkli, Tom Merritt, Tom "
"Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti, Tommy Dahlen, Tony Ciak, "
"Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin, Tracey Henton, Tracey "
"James, Traci Long DeForge, Trent Yarwood, Trevor Hogue, Trey Blalock, Trey "
"Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy, Tyler Occhiogrosso, Udo "
"Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum, Vaughan jenkins, Veethika "
"Mishra, Vic King, Vickie Goode, Victor DePina, Victor Grigas, Victoria "
"Klassen, Victorien Elvinger, VIGA Manufacture, Vikas Shah, Vinayak S."
"Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia Gentilini, Virginia "
"Kopelman, Vitor Menezes, Vivian Marthell, Wayne Mackintosh, Wendy Keenan, "
"Werner Wiethege, Wesley Derbyshire, Widar Hellwig, Willa Köerner, William "
"Bettridge-Radford, William Jefferson, William Marshall, William Peter Nash, "
"William Ray, William Robins, Willow Rosenberg, Winie Evers, Wolfgang "
"Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier Moisant, Xueqi Li, "
"Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian Sun, Yves "
"Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua de Haan "
"og ZeMarmot Open Movie."

#~ msgid ""
#~ "        <city>Mexico City</city>\n"
#~ "      "
#~ msgstr ""
#~ "        <city>Oslo</city>\n"
#~ "      "

#~ msgid ""
#~ "<copyright> <year>2017</year> <holder>Creative Commons</holder> </"
#~ "copyright> <publisher> <publishername>Gunnar Wolf</publishername> "
#~ "<placeholder type=\"address\" id=\"0\"/> </publisher>"
#~ msgstr ""
#~ "<copyright><year>2017</year> <holder>Creative Commons</holder></"
#~ "copyright> <publisher> <publishername>Petter Reinholdtsen</publishername> "
#~ "<placeholder type=\"address\" id=\"0\"/> </publisher>"

#~ msgid ""
#~ "Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution; "
#~ "Journeys to a Generative Economy. San Francisco:"
#~ msgstr ""
#~ "Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution; "
#~ "Journeys to a Generative Economy. San Francisco:"

#~ msgid "Made With Creative Commons"
#~ msgstr "Laget med Creative Commons"

#, fuzzy
#~ msgid "Enterprise engagements"
#~ msgstr "Enterprise engagements"

#~ msgid "Different views on resources"
#~ msgstr "Forskjellige syn på ressurser"

#~ msgid "Long ago"
#~ msgstr "For lenge siden"

#~ msgid "State takeover of the commons"
#~ msgstr "Statlig overtagelse av allmenningen"

#~ msgid "Today"
#~ msgstr "I dag"