dat.html - en to zh_CN translation catalogue (71 entries)

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en: The Right Way to Tax DAT - GNU Project - Free Software Foundation
zh_CN: DAT征税的正确方法 - GNU工程 - 自由软件基金会

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en: The Right Way to Tax DAT
zh_CN: DAT征税的正确方法

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en: by <a href="https://www.stallman.org/">Richard Stallman</a>
zh_CN: <a href="https://www.stallman.org/">理查德·斯托曼</a> 著

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en: <em>[This article does not concern software, not directly.  It concerns a parallel issue about sharing copies of music.]</em>
zh_CN: <em>[本文并不和软件直接相关。本文涉及的问题和软件类似，是关于分享音乐。]</em>

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en: <em>[The article was first published in <cite>Wired</cite> magazine in 1992; the text has not been changed; instead, I have added notes, in square brackets and with italics or other emphasis.]</em>
zh_CN: <em>[本文在1992年最初发表于<cite>连线（Wired）</cite>杂志；文章内容没有改变；只是增加了方括号里以斜体或其他强调方式表达的注释。]</em>

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en: <em>[The original article addressed the (then hypothetical) issue of sharing music using (then just appearing) digital audio tape recorders, since that is what the proposed US tax law was supposed to address.  Nowadays it could be applied to Internet file sharing.]</em>
zh_CN: <em>[原文讨论了使用（当时才出现的）数字音频磁带机分享音乐（当时还是假设）的问题，因为这正是美国税法要讨论的问题。现在，本文可以用于网络文件分享的问题。]</em>

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en: <em>[Another approach developed by the late Francis Muguet with my assistance, which includes some of these ideas, is called the Global Patronage system (in French, M&eacute;c&eacute;nat Global).  I support both solutions; that is to say, I favor adopting either one.]</em>
zh_CN: <em>[另一个解决方案在我的帮助下由已故的Francis Muguet提出，其中包含了一些本文的想法，被称为全球保护系统（用法语来说是，M&eacute;c&eacute;nat Global）。这两个方案我都支持；就是说，采用哪一个，我都赞同。]</em>

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en: Record company magnates don't like the digital audio tape recorder (<abbr title="Digital Audio Tape">DAT</abbr>), which can make perfect copies of musical recordings.  They fear that customers will copy music themselves, and stop buying prerecorded music.
zh_CN: 唱片公司的巨头们并不喜欢数字音频磁带录音机（<abbr title="Digital Audio Tape">DAT</abbr>），尽管它们可以制作完美的音乐录音带复制品。他们担心顾客们会自己复制音乐，从而停止购买事先录制的音乐。

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en: Threatening lawsuits, they have obtained from the manufacturers of DATs an agreement to pay a fee for each DAT unit and each DAT tape sold to consumers.  This fee is to be divided among various participants in the music business: musicians, composers, music publishers and record companies.  In addition, DAT manufacturers have agreed to cripple DAT units so that they cannot make a copy of a copy of a prerecorded piece.
zh_CN: 通过诉讼威胁的手段，他们已经与DAT的生产厂商达成了协议，生产厂商会为他们销售给顾客的每个DAT机和每盘DAT磁带支付一笔费用。该费用将分给音乐产业中不同的参与者：音乐家、作曲家、音乐发行商和唱片公司。除此以外，DAT生产商同意减弱DAT机以保证无法制作事先录制的磁带的拷贝的拷贝。

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en: Now the record companies have asked Congress to enact a law turning this fee into a tax and prohibiting manufacture of DAT tapedecks that function without imposed limitations.
zh_CN: 现在唱片公司要求国会颁布法律将该费用规定为税，并且禁止生产功能上没有强制限制的DAT录音机。

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en: The stated purpose of the tax is to &ldquo;compensate&rdquo; musicians for copying done by individuals using DATs.  However, 57 percent of the funds collected would go to record companies and music publishers&mdash;leaving less than half to the people who participate in the creative process.  Most of these remaining funds would go to musical superstars, and thus would do little to encourage musical creativity.  Meanwhile, DAT users would be unable to make full use of the power of DAT technology.
zh_CN: 征收该税的目的声称是&ldquo;补偿&rdquo;音乐家因私人使用DAT复制而损失的收入。然而，这笔资金的百分之五十七归唱片公司和音乐发行商所有&mdash;只有剩下不到一半分给参与创作的人们。而这剩下资金的大部分又将进入音乐超级巨星的腰包，因此这不是鼓励为音乐创作作贡献。与此同时，DAT用户将不能完全利用DAT技术的威力。

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en: Here is a proposal for a different system for taxing DATs and DAT tape&mdash;one designed to support music rather than cater to vested interests.
zh_CN: 这里提议一个不同的DAT和DAT磁带征税系统&mdash;为支持音乐而不是为迎合特权阶级而设计的提案。

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en: Collect funds with a tax on DAT machines and DAT tapes, as the current proposal provides.
zh_CN: 通过向DAT设备和DAT磁带征税来筹集资金，正如当前提案所提到的。

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en: Use a survey system to measure the extent of copying of each musical piece.
zh_CN: 使用调查系统来衡量每一个音乐作品的复制广度。

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en: Distribute these funds entirely to the people who create music.
zh_CN: 将资金完全分配给音乐创作者。

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en: Adjust each contributor's share so that it increases more slowly per copy as it gets larger.  This spreads the funds more widely to support a larger number of musicians adequately.
zh_CN: 调整每一个贡献者的份额，使它越大时从每份拷贝获得的收益越少。这样就可以更加广泛地分配资金从而充分支持更大数量的音乐家。

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en: Make no restrictions on the functioning of DATs.
zh_CN: 不限制DAT的功能。

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en: What is the purpose of copyright?
zh_CN: 版权制度的目的何在？

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en: The record industry presents its proposal as a way to &ldquo;compensate&rdquo; musicians, assuming that they are entitled to be paid for any copy made.  Many Americans believe that copyright law reflects a natural right of authors or musicians&mdash;that these are entitled to special consideration from public policy.  However, any lawyer specializing in the field knows this is a misunderstanding, a view rejected by the American legal system.
zh_CN: 唱片业展示的提议是一种&ldquo;补偿&rdquo;音乐家的方法，他们假设每一份拷贝都应该对音乐家付费。很多美国人相信版权法反映了作者或音乐家们的自然权利&mdash;这些权利应该由公共政策给予特殊的考虑。然而，任何该领域的律师都知道这是一种误解，一种为美国法制体系所拒绝的观点。

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en: The stated purpose of copyright, given in the U.S. Constitution, is to &ldquo;promote the progress of science and the useful arts.&rdquo; Progress in music means new and varied music for the public to enjoy: copyright is supposed to promote a public good, not a private one.
zh_CN: 美国宪法阐述的版权的目的是为了&ldquo;促进科学和有益艺术的发展&rdquo;。音乐的发展意味着有新颖的和多样的音乐供公众欣赏：版权应该促进公共利益，而不是个人利益。

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en: Yet copyright is often thought of as a natural right by laymen and politicians, which often leads to wrong decisions about copyright policy.  Even courts, defining the details of the copyright system, often let this thought creep back implicitly even though it is supposed to be excluded.  This is a conceptual error because it mistakes a means (copyright) to a larger end (progress) for an end in itself.
zh_CN: 然而外行人和政客们经常认为版权是一种自然权利，这往往导致版权政策的错误决定。甚至定义版权体系细节的法院也经常让此种想法暗中蔓延，尽管它应该被排除掉。这是一个概念错误，因为它错误地将达到较大目的（发展）的手段（版权）作为目的本身。

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en: Promoting progress in the arts does not inherently justify the idea that authors are entitled to any particular sort of copyright, or even that copyright should exist at all.  Copyright is justified if the benefits of progress exceeds the burden that copyright imposes on everyone except the copyright holder.
zh_CN: 促进艺术的发展并不从根本上证明作者拥有版权、甚或版权的存在是合理的。版权只有在其促进作用超过了其对除版权持有者之外的人的负担时，才是正确合理的。

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en: How do we make this cost/benefit comparison? It depends partly on facts (how does a particular law affect musical activity and music users) and partly on our value judgements about those results.
zh_CN: 如何判断这种代价／收益比？它部分取决于事实（特定法律是如何影响音乐活动和音乐用户的），部分取决于我们关于这些结果的价值判断。

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en: Let's assume that it is worth paying a DAT tax if the result is a significant increase in musical activity, and investigate how we should arrange the details of this tax in order to maximize the benefit.  But first, let's review basic principles and facts which have a bearing on the inquiry.
zh_CN: 让我们假设，如果支付DAT税会显著促进音乐活动，那么支付DAT税是值得的，并且研究一下如何细分该税以取得最大利益。但是，首先让我们回顾一下与该要求相关的基本原则和事实。

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en: Diminishing returns
zh_CN: 回报递减

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en: The law of diminishing returns is a general principle of economics.  It states that each additional increment of efforts or funds spent on a given goal typically produces a smaller and smaller increment in the results.  There are exceptions to this law, but they are local; if you keep on increasing the inputs, you eventually leave the exceptions behind.
zh_CN: 回报递减理论是经济学的一个普遍定律。它认为每次针对给定目标而增加的努力或投资所产生的回报增加会越来越少。这个理论存在例外，但它们都是局部性的；如果你继续增加投入，最终你会脱离例外。

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en: For example, you can make traffic flow more smoothly by improving roads.  Adding one lane to 20 miles of congested roads in a city might increase the average traffic speed by 15 miles an hour.  Adding a second lane to those roads will not give the same improvement; this might increase the average speed by only 5 more miles an hour.  The next additional lane might make no noticeable difference if the traffic jams are already gone.  Yet each successive lane will cause greater dislocation as more and more buildings must be torn down to make room.
zh_CN: 举例说明，你可以采取改进道路的方式来使得交通变得更加顺畅。为20英里的城市拥挤道路增加一个车道，可能会使平均交通时速提高十五英里。再添加一条车道将不会有同样的改善效果；这次平均时速可能只提高五英里。如果交通阻塞已经不再存在的话，再添加一个车道可能不会有任何明显的变化。然而每一条增加的车道都会带来更大的位置变化，因为必须拉倒越来越多的建筑物以腾出空间。

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en: When applied to the activities of musicians, diminishing returns tells us that each successive increase in the income of musicians will have a smaller effect on the amount of creativity in music.
zh_CN: 应用于音乐活动，回报递减告诉我们，音乐家们的每次收入增加对音乐创造性的影响都变得更小。

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en: Diminishing returns is the first reason to reject the idea that any use of music &ldquo;should&rdquo; be covered by copyright.  There is nothing to gain by trying to guarantee owners control of every possible aspect of the use of music or to give them a financial stake in every possible aftermarket.  Extending copyright can only &ldquo;promote progress&rdquo; up to a certain point.  Further extensions merely increase what the public pays to the owners for what they will do anyway.  Extending copyright beyond that point is certainly undesirable.
zh_CN: 回报递减理论是拒绝任何对音乐的使用都&ldquo;应该&rdquo;受版权保护这一想法的第一个原因。试图鼓励所有者控制音乐使用的方方面面，或者对每一个可能的市场都给予他们金钱上的奖励将无法获得任何回报。扩展版权只能&ldquo;促进发展&rdquo;到特定的程度。更多的扩展只不过是使公众们向所有者支付的费用增加，而所有者并不能做更多。在此之上的扩展显然是不受欢迎的。

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en: Trade-offs
zh_CN: 取舍

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en: Those with a vested interest in extending copyright start the discussion by claiming that copyright &ldquo;should&rdquo; be extended as far as it can go.  But the principle of diminishing returns renders this claim implausible.  So they fall back on the position that copyright should be extended to maximize the rate of progress.  But this too is wrong, because it ignores the existence of other trade-offs.  Copyright imposes costs and burdens on the public, like any other government project.  The benefit may not be worth the price.
zh_CN: 那些对扩展版权具有既定兴趣的人们挑起了论战，他们声称版权&ldquo;应该&rdquo;扩展得越远越好。但是回报递减理论让这种声明变得不可能。所以他们退而求其次，又回到版权的扩展应该使发展速度最大化的立场。但这也是错误的，因为它忽略了其他可取舍因素的存在。版权正如其他任何政府项目一样，向公众强加费用和负担。它的收益可能不如为它所付出的代价。

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en: Government fills many important functions, but few would say that any one of these functions should be expanded to maximize output.  For example, governments build roads, and this is very useful.  But few leaders would advocate building every road that could be built.  Road construction is expensive, and citizens have other uses for their money.  Too much concentration on building roads means that other social and individual needs will be unmet.
zh_CN: 政府完成很多重要的职能，但是几乎没有哪一项职能可以说应该被扩展到产出最大化的程度。例如，政府修建道路，并且道路是非常有用的。但是几乎没有领导人会热衷于修建他们所能修建的每一条道路。道路建设耗资巨大，公民还有其他需要用钱的地方。太专注于道路建设就意味着其他社会和个人的需要将无法得到满足。

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en: The same considerations apply to individual decisions.  By spending more money, you can buy a bigger and fancier house.  Most people would prefer the more expensive house, all else being equal.  But given finite resources, at some point spending more on a house becomes a poor allocation of them.
zh_CN: 同样的道理适用于个人决定。花更多的钱，你可以购买到更大和更好的住房。其他条件一样时，大多数人都喜欢较贵的住房。但是假定资源有限，到达某种程度后，再在住房上花费更多就成为一种差劲的资源分配。

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en: Copyright does not directly spend public funds, but it does impose a cost&mdash;a loss of freedom&mdash;on every citizen.  The wider the scope of copyright, the more freedom we pay.  We might prefer to exercise some of our freedoms rather than trade them away.  We must judge any decision in copyright policy by comparing the benefits with the costs.
zh_CN: 版权并不直接花费公众的资金，但是它的确向每个公民都强加了一种代价&mdash;自由的丧失。版权的范围越广，我们所付出的自由就越多。我们也许更愿意享受我们的自由而不是用它们来作交易。我们必须通过比较得失来判断每个版权制度的决定。

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en: &ldquo;Incentive&rdquo; is the wrong concept
zh_CN: &ldquo;激励&rdquo;是错误的概念

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en: The idea of providing a monetary incentive for making music is based on a misunderstanding.  Musicians hope primarily for other kinds of reward; they must.  Very few musicians get rich from their music; a talented person whose primary goal is wealth would seek it in other ways.
zh_CN: 对音乐创作提供金钱激励的想法建立在错误理解的基础之上。音乐家们主要期望其他的回报；他们必须这样。很少有音乐家由于他们的音乐而富有；一个主要目标是财富的天才会通过别的方式来追求它。

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en: In fact, psychological studies show that the desire for an extrinsic reward (such as profit) generally hampers creative activities such as writing music.  The people who can do them well are usually those who do them mostly for their own sake.
zh_CN: 事实上，心理学研究表明渴望得到外在的奖励（例如利润）一般会损害音乐创作这样的创造性活动。能够做得好的人通常是出于他们自身的理由才去做的。

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en: This is not to say that musicians don't care about being paid.  Most hope to make a living from music so they will be free to devote their time to it.  As long as they earn enough to live, they will make music as best they can.  We might wish them to earn somewhat more than just enough, so they can live as well as most Americans.  But to offer them wealth beyond this gains the public little&mdash;it is a matter of diminishing returns.
zh_CN: 这并不是说音乐家们不在乎他们的收入。大多数音乐家希望能够依靠音乐谋生，这样他们就可以自由地将时间投入其中。只要他们的收入足以生活，他们就会尽可能地创作最好的音乐。我们也许希望他们应该得到比刚刚好多一些的收入，那样他们就可以过得像大多数美国人一样好。但是提供给他们超出这个程度的财富并不能使公众得到更多&mdash;这是一个回报递减的情况。

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en: With this understanding, let's consider how a tax on DAT tape could be designed to serve the intended purpose of copyright.
zh_CN: 有了这种理解，让我们考虑如何设计DAT磁带税以达到版权的本来目的。

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en: Who should get the funds
zh_CN: 谁应该得到资金

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en: If the purpose of the DAT tax is to better reward musicians and composers, then all the money collected should go to them&mdash;not just 43 percent.  The musicians and composers are the ones who truly create the music.  In principle, we could do without record companies entirely.
zh_CN: 如果DAT税的目的是为了更好地奖励音乐家和作曲家，那么所有的收入都应该属于他们&mdash;而不是仅仅只有百分之四十三。音乐家和作曲家是真正创造音乐的人。原则上，如果完全没有唱片公司我们也可以欣赏音乐。

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en: Record companies do provide a useful service: they distribute prerecorded copies of music, usually of high quality.  This service is widely used, and will probably remain so.  And it is right that the purchasers of prerecorded copies should pay for this service.  But listeners making copies for themselves or their friends do not consume this service; they use only the work of the musicians and composers.  The record companies contribute only incidentally and their role is not essential.
zh_CN: 唱片公司的确提供了有益的服务：他们发布预先录制完成的音乐拷贝，通常是高质量的。这种服务被广泛使用，并且可能会这样保持下去。预先录制音乐拷贝的购买者为服务付费也是正确的。但是为自己或朋友们制作拷贝的听众并没有消费这种服务；他们只享用了音乐家和作曲家们的工作。唱片公司只是附带地作出了一些贡献，并且他们的角色也不是必须的。

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en: Dividing the funds
zh_CN: 分配资金

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en: What share of the tax revenues should each musician or composer get? The record company proposal would divide the money in proportion to record sales.
zh_CN: 每个音乐家或作曲家应该得到税收的多大份额？唱片公司建议根据唱片销售比例分配金钱。

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en: It makes sense to distribute the funds based on how much that musician's work is copied, more or less.  But strict proportionality is not the best apportionment.  If each musician gets a share in strict proportion to the amount of copying of his or her music, then a large share will go to make a few superstars even richer than they are now.  This won't do much to promote musical culture or diversity.
zh_CN: 根据音乐家作品被复制的多少分配资金或多或少具有一定的意义。但是严格按比例划分并不是最好的解决方法。如果每一个音乐家都按照其作品复制数量的比例严格分配收入，那么其大部分的份额会使少量巨星们比现在更富有。这对促进音乐文化或者多样化并没有什么好处。

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en: We can promote music more effectively by making any one musician's share of the tax revenues taper off as copies increase.  For example, we could calculate an &ldquo;adjusted number of copies&rdquo; which, beyond a certain point, increases more slowly than the actual number.
zh_CN: 通过随着拷贝数的增加而逐渐减少音乐家的税收收益，我们可以更有效地促进音乐的发展。例如，我们可以计算一个&ldquo;调整后拷贝数量&rdquo;，在超过特定节点之后，它比实际数量的增长要慢得多。

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en: The effect of tapering off will be to spread the money more widely, supporting more musicians at an adequate standard of living.  This encourages diversity, which is what copyright is supposed to do.
zh_CN: 逐渐减少收入的效果是使收入分配得更加广泛，供养更多音乐家过上适当水平的生活。这鼓励了多样化，正是版权制度应该做的。

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en: The US government has already established a program to fund diversity in the arts: the <abbr title="National Endowment for the Arts">NEA</abbr>.  However, NEA grants involve discretionary power, which makes them a center for controversy, sometimes because a few members of the public strongly dislike the work, and sometimes because hardly anyone particularly likes it.  Spreading out DAT tax revenues will also have the effect of supporting less popular musicians.  However, it will not support musicians whose work nobody likes.  In addition, since it involves no discretion, no arbitrary decisions, there is little room for objection on account of any particular case.
zh_CN: 美国政府已经建立了资助艺术多样化的项目：<abbr title="National Endowment for the Arts，国家艺术基金">NEA</abbr>。然而，NEA 基金拥有自由裁决的权利，这使得他们成为争论的中心，有时候因为一部分公众会员很不喜欢某作品，有时候是因为几乎没有人明确喜欢它。分配 DAT 税收收入也会有支持非主流音乐家的效果。然而，它不会支持作品没人喜欢的音乐家。此外，因为它并没有包含任何自由裁决，也没有任何武断的决定，所以它几乎没有因为特定原因而拒绝某作品的空间。

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en: <em>[I was later asked an interesting question: what organization would &ldquo;manage&rdquo; the distribution of these funds.  Since this is tax money, a government agency should collect the tax and distribute the funds.  Private organizations should not be involved.]</em>
zh_CN: <em>[后来，有人问我一个有趣的问题：什么机构应该来&ldquo;管理&rdquo;这些资金的分配。因为这是税收，政府机构应该征收和分配这些资金。私人机构不应该介入。]</em>

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en: Encouraging home copying
zh_CN: 鼓励家庭复制

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en: The record company proposal includes a requirement to make it difficult for home listeners to make copies.  Specifically, it requires that consumer DAT machines refuse to copy a copy that was made on a consumer DAT machine.  The argument for this requirement is based on the assumption that home copying is somehow unfair.
zh_CN: 唱片公司的建议中要求使得家庭听众很难制作拷贝。特别地，它要求消费者的DAT机拒绝复制在消费者DAT机上制作的拷贝。这项要求的论点是基于家庭拷贝是不太公平的假设之上的。

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en: In the past, many people have considered it unfair, because it reduced the income of musicians.  The DAT tax makes this reason obsolete.  Once home copying does contribute to the income of musicians, through the DAT tax, the reason to discourage home copying disappears.
zh_CN: 在过去，很多人都认为它是不公平的，因为它降低了音乐家的收入。DAT税收使得这个原因过时了。一旦家庭拷贝确实通过DAT税对音乐家的收入作出了贡献，阻挠家庭拷贝的原因就消失了。

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en: Therefore, if a DAT tax is adopted, the ability to copy DAT tapes should not be restricted.  Home copying is more efficient than record companies and record stores; music lovers should be encouraged to use home copying as much as possible.
zh_CN: 因此，如果采用了DAT税，复制DAT磁带的能力就不应该得到限制。家庭复制比唱片公司和唱片商店更为有效；应该鼓励音乐爱好者尽可能多的使用家庭复制。

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en: Measuring the use of each piece of music
zh_CN: 衡量每个音乐的使用

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en: Today, nearly all the recorded music in the United States is purchased in record stores; home copying is but a small fraction.  This will probably remain true for a long time, because record stores offer a place where a person can go to find a particular piece or to browse a wide selection.  While this remains true, we can usually estimate the audience of a given piece fairly well by counting record sales.
zh_CN: 现在，几乎所有美国的录制音乐都是在唱片商店购买的；家庭复制只占很少的份额。这在很长时间内可能仍然是实际情况，因为唱片商店提供了一个场所，在那里人们可以去寻找特定的音乐或浏览广泛的选择。只要这项事实仍然保持，我们通常可以通过统计唱片的销量，很好地估计一个音乐的听众数量。

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en: Eventually, home copying may become so widespread that estimating its extent from sales figures may be unsatisfactory.  This is already unsatisfactory for musicians who distribute independently without the help of record companies; and if any musicians need additional support, these are the ones.  We need another way to estimate usage of any given piece, in order to distribute the tax funds.
zh_CN: 最终，家庭复制也许会变得如此普遍，以至于由销售数据估计音乐的传播已经不再令人满意。这对没有唱片公司帮助的独立发行音乐的音乐家已经是不公平的了；而且如果还有音乐家需要额外的支持，那就是这些独立音乐家。为了分配税收资金，我们需要其他方法来估计某个音乐的使用。

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en: We can make these estimates by survey.  From time to time, survey staff would ask randomly chosen members of the public to show what copies they have made of copyrighted music.  The citizens asked would not be required to answer.  But no penalty and no guilt would attach to having made copies, so most people will be glad to participate.  Fans will hope to be chosen so that they can contribute to the count for their favorite musical groups.
zh_CN: 我们可以通过调查来进行这些估计。时不时地，调查员们会向随机选择的公众们提问，来调查他们复制了多少有版权的音乐。被问到的公民不被强制要求回答。但是由于复制并不犯法，也没有罚款，因此大多数人都会喜欢参与。乐迷会希望被选中，这样他们就可以为喜爱的音乐团体的复制数量作出贡献。

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en: To make the survey more efficient and broader-based (and thus more accurate), it could be automated.  The survey bureau could mail read-write memory cards to the chosen participants, who would connect them momentarily to their DAT units and then mail them back.  With proper design, the survey bureau would have no way of knowing who had sent in any particular card, and thus no information about who had copied what, but they would still have an accurate total.
zh_CN: 为了让调查更有效和广泛（因此更准确），调查应该可以自动进行的。调查局可以邮寄读写记忆卡给选定的参与者，他们可以马上将这些卡与DAT机相连然后再把卡寄回。如果设计合理的话，调查局无法知道是谁寄回了哪张卡，因此就无法知道谁拷贝了什么，但是他们仍然可以得到准确的总数。

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en: Conclusion
zh_CN: 结论

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en: The record companies have proposed an excellent scheme for taxing the public to increase their own income, but this isn't a legitimate purpose of copyright.  Through due attention to the ends of copyright rather than past means, we can design a system which supports musicians while giving citizens full freedom to copy music as they wish.
zh_CN: 唱片公司提出了一个通过向公众征税增加他们收入的很好的计划，但是这并不是版权制度的合法目的。通过注重版权的最终目的而不是过程手段，我们可以设计一个系统，它在支持音乐家的同时，也赋予公民按自己意愿复制音乐的完全自由。

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en: What You Can Do
zh_CN: 你可以做些什么

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en: <em>[This section is no longer applicable today; it is too late, because the DAT tax bill was adopted in 1992&mdash;and DAT recorders are obsolete nowadays.  However, the same method can support musicians and other artists in a world where sharing copies on the Internet has been legalized.]</em>
zh_CN: <em>[这一部分现在已经不再可行；已经太晚了，因为DAT税已经在1992年被采纳&mdash;而且DAT录制机今天也过时了。不过，同样的方法可以用于支持身处网络分享已经被立法的世界中的音乐家和其他艺术家。]</em>

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en: Record company lobbyists are working hard to pass their form of DAT tax.  There is little organized opposition, and little public debate.  Their bill has already been sent out of committee in the Senate.
zh_CN: 唱片公司的说客们正努力工作以通过他们的DAT税版本。少有组织起来的抗议，也少有公开的辩论。他们的议案已经送到了参议院。

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en: This article proposes an alternative to the record company plan.  In order for this alternative, or any alternative, to have a chance, we must first prevent the hasty adoption of the record company plan.  To help accomplish this, please write letters to:
zh_CN: 这篇文章提供了一个唱片公司方案之外的选择。为了让这个选择或其他选择能够有机会，我们必须首先阻止匆忙采纳唱片公司的方案。为了帮助达到这个目的，请往以下地址写信：

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en: Urge Congress to reject the record company bill so that this and other alternatives can be properly considered.  It takes just a few minutes to write a short letter, but in combination with other people's letters it can do a great deal of good.
zh_CN: 促使国会否决唱片公司的方案，从而本文的方案或其他选择能够被正当地考虑。写一封短信只需要花上几分钟的时间，但是和其他人的信联合在一起将会大有助益。

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en: If you know any musicians, composers, or songwriters, give them copies of this article.  Many musicians prefer this alternative to the record company tax plan, and they are strongly motivated to act on their concern.
zh_CN: 如果你认识任何音乐家、作曲家或者歌曲作者，请给他们本文的拷贝。相比于唱片公司的方案，很多音乐家更喜欢这个替代方案，而且他们有强烈的驱动来为他们自己的担忧而行动。

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en: Please send general FSF &amp; GNU inquiries to <a href="mailto:gnu@gnu.org">&lt;gnu@gnu.org&gt;</a>.  There are also <a href="/contact/">other ways to contact</a> the FSF.  Broken links and other corrections or suggestions can be sent to <a href="mailto:webmasters@gnu.org">&lt;webmasters@gnu.org&gt;</a>.
zh_CN: 请将有关自由软件基金会（FSF）&amp;GNU的一般性问题发送到<a href="mailto:gnu@gnu.org">&lt;gnu@gnu.org&gt;</a>。也可以通过<a href="/contact/">其他联系方法</a>联系自由软件基金会(FSF)。请将无效链接，其他错误或建议发送给<a href="mailto:webmasters@gnu.org">&lt;webmasters@gnu.org&gt;</a>。

note: TRANSLATORS: Ignore the original text in this paragraph, replace it with the translation of these two: We work hard and do our best to provide accurate, good quality translations.  However, we are not exempt from imperfection. Please send your comments and general suggestions in this regard to <a hr
en: Please see the <a href="/server/standards/README.translations.html">Translations README</a> for information on coordinating and contributing translations of this article.
zh_CN: 我们尽最大努力来提供精准和高质量的翻译，但难免会存在错误和不足。如果您在这方面有评论或一般性的建议，请发送至 <a href="mailto:web-translators@gnu.org">&lt;web-translators@gnu.org&gt;</a>。</p><p>关于进行协调与提交翻译的更多信息参见 <a href="/server/standards/README.translations.html">《译者指南》</a>。

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en: This page is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/">Creative Commons Attribution-NoDerivatives 4.0 International License</a>.
zh_CN: 本页面使用 <a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/">Creative Commons Attribution-NoDerivatives 4.0 International License</a> 授权。

note: TRANSLATORS: Use space (SPC) as msgstr if you don't want credits. type: Content of: <div><div>
en: *GNUN-SLOT: TRANSLATOR'S CREDITS*
zh_CN: <b>翻译</b>: 梁萌<br></br>
    <b>审校</b>: 刘昭宏 <a href="mailto:chliu@gnu.org">&lt;chliu@gnu.org&gt;</a><br></br>
    <b>翻译团队</b>：<a rel="team" href="https://savannah.gnu.org/projects/www-zh-cn/">&lt;CTT&gt;</a>，2018，2020，2021。

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en: Updated:
zh_CN: 最后更新：
