# LANGUAGE translation of https://www.gnu.org/philosophy/freedom-or-copyright.html # Copyright (C) YEAR Free Software Foundation, Inc. # This file is distributed under the same license as the original article. # FIRST AUTHOR , YEAR. # #, fuzzy msgid "" msgstr "" "Project-Id-Version: freedom-or-copyright.html\n" "POT-Creation-Date: 2022-04-12 11:57+0000\n" "PO-Revision-Date: YEAR-MO-DA HO:MI+ZONE\n" "Last-Translator: FULL NAME \n" "Language-Team: LANGUAGE \n" "Language: \n" "MIME-Version: 1.0\n" "Content-Type: text/plain; charset=CHARSET\n" "Content-Transfer-Encoding: 8bit\n" #. type: Content of: msgid "Freedom or Copyright? - GNU Project - Free Software Foundation" msgstr "" #. type: Content of: <div><h2> msgid "Freedom—or Copyright?" msgstr "" #. type: Content of: <div><address> msgid "by Richard Stallman" msgstr "" #. type: Content of: <div><div><p> msgid "" "<em>This essay addresses how the principles of software freedom apply in " "some cases to other works of authorship and art. It's included here since it " "involves the application of the ideas of free software.</em>" msgstr "" #. type: Content of: <div><p> msgid "" "Copyright was established in the age of the printing press as an industrial " "regulation on the business of writing and publishing. The aim was to " "encourage the publication of a diversity of written works. The means was to " "require publishers to get the author's permission to publish recent " "writings. This enabled authors to get income from publishers, which " "facilitated and encouraged writing. The general reading public received the " "benefit of this, while losing little: copyright restricted only publication, " "not the things an ordinary reader could do. That made copyright arguably a " "beneficial system for the public, and therefore arguably legitimate." msgstr "" #. type: Content of: <div><p> msgid "Well and good—back then." msgstr "" #. type: Content of: <div><p> msgid "" "Now we have a new way of distributing information: computers and networks. " "Their benefit is that they facilitate copying and manipulating information, " "including software, musical recordings, books, and movies. They offer the " "possibility of unlimited access to all sorts of data—an information " "utopia." msgstr "" #. type: Content of: <div><p> msgid "" "One obstacle stood in the way: copyright. Readers and listeners who made " "use of their new ability to copy and share published information were " "technically copyright infringers. The same law which had formerly acted as " "a beneficial industrial regulation on publishers had become a restriction on " "the public it was meant to serve." msgstr "" #. type: Content of: <div><p> msgid "" "In a democracy, a law that prohibits a popular and useful activity is " "usually soon relaxed. Not so where corporations have political power. The " "publishers' lobby was determined to prevent the public from taking advantage " "of the power of their computers, and found copyright a handy weapon. Under " "their influence, rather than relaxing copyright rules to suit the new " "circumstances, governments made them stricter than ever, imposing harsh " "penalties on the practice of sharing. The latest fashion in supporting the " "publishers against the citizens, known as “three strikes,” is to " "cut off people's Internet connections if they share." msgstr "" #. type: Content of: <div><p> msgid "" "But that wasn't the worst of it. Computers can be powerful tools of " "domination when software suppliers deny users the control of the software " "they run. The publishers realized that by publishing works in encrypted " "format, which only specially authorized software could view, they could gain " "unprecedented power: they could compel readers to pay, and identify " "themselves, every time they read a book, listen to a song, or watch a " "video. That is the publishers' dream: a pay-per-view universe." msgstr "" #. type: Content of: <div><p> msgid "" "The publishers gained US government support for their dream with the Digital " "Millennium Copyright Act of 1998. This law gave publishers power to write " "their own copyright rules, by implementing them in the code of the " "authorized player software. Under this practice, called Digital " "Restrictions Management, or DRM, even reading or listening without " "authorization is forbidden." msgstr "" #. type: Content of: <div><p> msgid "" "We still have the same old freedoms in using paper books and other analog " "media. But if e-books replace printed books, those freedoms will not " "transfer. Imagine: no more used book stores; no more lending a book to your " "friend; no more borrowing one from the public library—no more " "“leaks” that might give someone a chance to read without " "paying. No more purchasing a book anonymously with cash—you can only " "buy an e-book with a credit card. That is the world the publishers want to " "impose on us. If you buy the Amazon Kindle (we call it <a " "href=\"/philosophy/why-call-it-the-swindle.html\">the Swindle</a>) or the " "Sony Reader (we call it the Shreader for what it threatens to do to books), " "you pay to establish that world." msgstr "" #. type: Content of: <div><p> msgid "" "The Swindle even has an Orwellian back door that can be used to erase books " "remotely. Amazon demonstrated this capability by erasing copies, purchased " "from Amazon, of Orwell's book 1984. Evidently Amazon's name for this " "product reflects the intention to burn our books." msgstr "" #. type: Content of: <div><p> msgid "" "Public anger against DRM is slowly growing, held back because propaganda " "expressions such as “<a " "href=\"/philosophy/words-to-avoid.html\">protect authors</a>” and " "“<a href=\"/philosophy/not-ipr.html\">intellectual property</a>” " "have convinced readers that their rights do not count. These terms " "implicitly assume that publishers deserve special power in the name of the " "authors, that we are morally obliged to bow to them, and that we have " "wronged someone if we see or hear anything without paying for permission." msgstr "" #. type: Content of: <div><p> msgid "" "The organizations that profit most from copyright legally exercise it in the " "name of the authors (most of whom gain little). They would have you believe " "that copyright is a natural right of authors, and that we the public must " "suffer it no matter how painful it is. They call sharing " "“piracy,” equating helping your neighbor with attacking a ship." msgstr "" #. type: Content of: <div><p> msgid "" "They also tell us that a War on Sharing is the only way to keep art alive. " "Even if true, it would not justify the policy; but it isn't true. Public " "sharing of copies is likely to increase the sales of most works, and " "decrease sales only for big hits." msgstr "" #. type: Content of: <div><p> msgid "" "Bestsellers can still do well without forbidding sharing. Stephen King got " "hundreds of thousands of dollars selling an unencrypted e-book serial with " "no obstacle to copying and sharing. (He was dissatisfied with that amount " "and called the experiment a failure, but it looks like a success to me.) " "Radiohead made millions in 2007 by inviting fans to copy an album and pay " "what they wished, while it was also shared on peer-to-peer networks. In " "2008, <a " "href=\"https://boingboing.net/2008/03/05/nine-inch-nails-made.html\"> Nine " "Inch Nails released an album with permission to share copies</a> and made " "$750,000 in a few days." msgstr "" #. type: Content of: <div><p> msgid "" "The possibility of success without oppression is not limited to " "bestsellers. Many artists of various levels of fame now make an adequate " "living through <a " "href=\"https://www.techdirt.com/2010/01/25/future-music-business-models-those-who-are-already-there/\">voluntary " "support</a>: donations and merchandise purchases of their fans. Kevin Kelly " "estimates the artist need only find around <a " "href=\"https://kk.org/thetechnium/1000-true-fans/\"> 1,000 true fans</a>." msgstr "" #. type: Content of: <div><p> msgid "" "When computer networks provide an easy anonymous method for sending someone " "a small amount of money, without a credit card, it will be easy to set up a " "much better system to support the arts. When you view a work, there will be " "a button you can press saying, “Click here to send the artist one " "dollar.” Wouldn't you press it, at least once a week?" msgstr "" #. type: Content of: <div><p> msgid "" "Another good way to support music and the arts is with <a " "href=\"/philosophy/dat.html\">tax funds</a>—perhaps a tax on blank " "media or on Internet connectivity. The state should distribute the tax " "money entirely to the artists, not waste it on corporate executives. But " "the state should not distribute it in linear proportion to popularity, " "because that would give most of it to a few superstars, leaving little to " "support all the other artists. I therefore recommend using a cube-root " "function or something similar. With linear proportion, superstar A with " "1,000 times the popularity of a successful artist B will get 1,000 times as " "much money as B. With the cube root, A will get 10 times as much as B. " "Thus, each superstar gets a larger share than a less popular artist, but " "most of the funds go to the artists who really need this support. This " "system will use our tax money efficiently to support the arts." msgstr "" #. type: Content of: <div><p> msgid "" "The <a href=\"https://stallman.org/mecenat/global-patronage.html\">Global " "Patronage</a> proposal combines aspects of those two systems, incorporating " "mandatory payments with voluntary allocation among artists." msgstr "" #. type: Content of: <div><p> msgid "" "To make copyright fit the network age, we should legalize the noncommercial " "copying and sharing of all published works, and prohibit DRM. But until we " "win this battle, you must protect yourself: don't buy any products with DRM " "unless you personally have the means to break the DRM. Never use a product " "designed to attack your freedom unless you can nullify the attack." msgstr "" #. TRANSLATORS: Use space (SPC) as msgstr if you don't have notes. #. type: Content of: <div> msgid "*GNUN-SLOT: TRANSLATOR'S NOTES*" msgstr "" #. type: Content of: <div><div><p> msgid "" "Please send general FSF & GNU inquiries to <a " "href=\"mailto:gnu@gnu.org\"><gnu@gnu.org></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\"><webmasters@gnu.org></a>." msgstr "" #. 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 href="mailto:web-translators@gnu.org"> # #. <web-translators@gnu.org></a>.</p> # #. <p>For information on coordinating and contributing translations of #. our web pages, see <a #. href="/server/standards/README.translations.html">Translations #. README</a>. #. type: Content of: <div><div><p> msgid "" "Please see the <a " "href=\"/server/standards/README.translations.html\">Translations README</a> " "for information on coordinating and contributing translations of this " "article." msgstr "" #. type: Content of: <div><p> msgid "Copyright © 2008, 2010, 2022 Richard Stallman" msgstr "" #. type: Content of: <div><p> msgid "" "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>." msgstr "" #. TRANSLATORS: Use space (SPC) as msgstr if you don't want credits. #. type: Content of: <div><div> msgid "*GNUN-SLOT: TRANSLATOR'S CREDITS*" msgstr "" #. timestamp start #. type: Content of: <div><p> msgid "Updated:" msgstr ""