Locale bar full labels + broader FR/NB translation pass

- Locale bar now shows "EN edition / Cahier FR / NB utgave" (via localeMeta) instead of just EN/FR/NO
- Increase locale bar button size (font-size 0.88rem, padding 0.4/1.1rem, height 46px)
- education.astro: translate hero eyebrow, h1, lede, editorial note, bullets
- writing.astro: translate Boris Vian feature panel (title, subtitle, body, CTA)
- business.astro: translate AI Bubble feature panel (title, subtitle, body, CTA)
- boris-vian-2026.astro: translate eyebrow, sidebar, article kicker, source credits
- kongsberg-jazz-2026.astro: translate eyebrow, sidebar, field report labels, cross-promo, source credits
- ai-bubble-2026.astro: translate eyebrow, sidebar, field report labels, source credits
- Add untracked data files ai-bubble.ts and boris-vian.ts

Co-Authored-By: Claude Sonnet 4.6 <noreply@anthropic.com>

src/data/ai-bubble.ts

@@ -0,0 +1,103 @@
+import type { LocaleCode } from "./locales";
+
+export type AiBubbleImage = {
+  src: string;
+  alt: string;
+  credit: string;
+  license: string;
+  sourceUrl: string;
+  sourceLabel: string;
+  note?: string;
+};
+
+export const aiBubbleArticle = {
+  title: "The Science of Imaginary Revenues",
+  subtitle: { en: "A Field Study of the AI Valuation Ecosystem", fr: "Une étude de terrain de l'écosystème de valorisation de l'IA", nb: "En feltstudie av økosystemet for AI-verdsettelse" },
+  publishedAt: "2026-05-17 09:00:00",
+  excerpt: { en: "From inside the machine that builds the machines: a correspondent's notes on circular capital, NVIDIA's golden shovel, and the dot-com rhyme that the AI industry insists it is not repeating.", fr: "Depuis l'intérieur de la machine qui construit les machines : les notes d'un correspondant sur le capital circulaire, la pelle dorée de NVIDIA et la rime dot-com que l'industrie de l'IA insiste à ne pas répéter.", nb: "Fra innsiden av maskinen som bygger maskinene: en korrespondents notater om sirkulær kapital, NVIDIAs gyldne spade og dot-com-rimet som AI-industrien insisterer på at den ikke gjentar." },
+};
+
+export const aiBubbleImages: AiBubbleImage[] = [
+  {
+    src: "/images/articles/ai-bubble/eniac.jpg",
+    alt: "The ENIAC computer at the University of Pennsylvania, 1946.",
+    credit: "US Army / University of Pennsylvania",
+    license: "Public Domain",
+    sourceUrl: "https://commons.wikimedia.org/wiki/File:Glen_Beck_and_Betty_Snyder_program_the_ENIAC_in_building_328_at_the_Ballistic_Research_Laboratory.jpg",
+    sourceLabel: "Wikimedia Commons",
+    note: "The ENIAC (1946): built for $400,000 to calculate artillery trajectories. No one imagined it would one day generate funding decks for companies valued at $300 billion.",
+  },
+  {
+    src: "/images/articles/ai-bubble/semper-augustus.jpg",
+    alt: "The Semper Augustus tulip, painted during the Dutch Golden Age circa 1637.",
+    credit: "Anonymous / Dutch Golden Age, c. 1637",
+    license: "Public Domain",
+    sourceUrl: "https://commons.wikimedia.org/wiki/File:Semper_Augustus_Tulip_17th_century.jpg",
+    sourceLabel: "Wikimedia Commons",
+    note: "The Semper Augustus: at its 1637 peak, a single bulb sold for 10,000 guilders — the price of an Amsterdam townhouse. The tulip was real. The economics were not.",
+  },
+  {
+    src: "/images/articles/ai-bubble/data-centre.jpg",
+    alt: "Row upon row of server hardware in a Wikimedia Foundation data centre.",
+    credit: "Victorgrigas",
+    license: "CC BY-SA 3.0",
+    sourceUrl: "https://commons.wikimedia.org/wiki/File:Wikimedia_Foundation_Servers-8055_35.jpg",
+    sourceLabel: "Wikimedia Commons",
+    note: "A data centre: the physical substrate of the imaginary economy. Every inference request, every funding round, every conference keynote ultimately resolves to a room that looks exactly like this one.",
+  },
+  {
+    src: "/images/articles/ai-bubble/boyles-flask.png",
+    alt: "Diagram of Boyle's self-flowing flask, a proposed perpetual motion machine.",
+    credit: "Wikimedia Commons",
+    license: "Public Domain",
+    sourceUrl: "https://commons.wikimedia.org/wiki/File:Boyle%27sSelfFlowingFlask.png",
+    sourceLabel: "Wikimedia Commons",
+    note: "Boyle's self-flowing flask (c. 1685): a siphon-based perpetual motion machine that theorised water could power itself indefinitely. The AI investment cycle operates on similar principles, with venture capital in place of water.",
+  },
+];
+
+export const aiBubbleBody: Record<LocaleCode, string[]> = {
+  en: [
+  "There are two kinds of people in the artificial intelligence industry in the year 2026. The first kind has never actually run an inference in anger; they attend conferences, read press releases, and hold opinions about paradigm shifts that exist in their slide decks but nowhere else. The second kind builds with the technology daily — reads the model cards, watches the hallucinations, argues with the tokenizer, patches the context windows, and finds the whole enterprise simultaneously extraordinary and slightly absurd. I belong to the second camp, which is the worse position for peace of mind and the better position for observation.",
+  "Let us be precise about what is being wagered, since precision is at least a courtesy. OpenAI carries a valuation of approximately three hundred billion dollars as of early 2026, having raised multiples of what it has ever earned in revenue. Anthropic — the company whose model is composing this very sentence — sits at sixty-one billion. xAI, Elon Musk's contribution to the genre, at fifty billion. NVIDIA, which manufactures the hardware that all of these companies rent from the sky, briefly became one of the most valuable companies in human commercial history, its data-centre revenues compounding from fifteen billion dollars in 2022 to north of one hundred billion in 2024. These are not small numbers. These are numbers that imply a certainty about the future that the future has not yet agreed to honour.",
+  "Here is where the field study becomes genuinely interesting to anyone who has taken a passing interest in the science of imaginary solutions. Microsoft has invested thirteen billion dollars in OpenAI. OpenAI spends heavily on Microsoft Azure. Amazon has committed four billion dollars to Anthropic. Anthropic spends lavishly on Amazon Web Services. Google has invested in Anthropic while also building its own competing models and selling cloud infrastructure to everyone involved. The money moves in a circle. The investor is also the supplier. The supplier is also the customer. The customer is also the investor. Alfred Jarry would have recognised this ecosystem immediately: a machine of singular elegance that generates energy through the mutual validation of all its participants, with the notable property that no external customer is strictly required to keep the wheel turning — at least until the wheel needs to turn faster.",
+  "The singular winner in this arrangement, so far, has been NVIDIA. In a gold rush the preferred position is not to mine but to sell shovels, and Jensen Huang has been selling shovels at a margin that would make a Venetian merchant weep with admiration. A single H100 graphics processor lists at around thirty thousand dollars. The hyperscalers are ordering them in quantities measured in hundreds of thousands. The irony embedded in this arrangement is considerable: the AI companies that are supposedly threatening to restructure the global economy must first pay vast sums to the chip company whose business model is entirely traditional — make the thing, sell the thing, collect the money. NVIDIA's revenues are real. What is less certain is whether the demand that produced them is itself sustainable, or whether it represents the most expensive collective fear-of-missing-out in commercial history.",
+  "One is frequently told, in the industry, that comparisons to the dot-com bubble of 2000 reveal a failure of imagination. The technology is different, the argument runs. The infrastructure actually works. The use cases are genuine. All of this is true, and none of it is the point. The dot-com era also had real technology; the fibre-optic cables that went dark in 2001 carried real light at real speeds and eventually became the substrate of a functional internet. What failed was not the technology — what failed was the assumption that technology alone generates revenue, that the build-out would produce paying customers in proportions sufficient to justify the capital deployed. In 2000 the unanswerable question was: who exactly is paying for all this? In 2026 the question deserves asking again.",
+  "The answer one hears is: enterprise. Corporations, the theory runs, will pay monthly subscriptions to embed artificial intelligence into every function, and the aggregate of those subscriptions will eventually produce the revenues that justify the valuations. The empirical picture is more equivocal. Surveys of enterprise AI adoption show high rates of experimentation and markedly lower rates of production deployment. Many organisations that report 'using AI' mean that their employees have ChatGPT accounts. This is not the same thing as a restructured cost base or a validated revenue model. The gap between pilot and production — between the innovation theatre of the boardroom and the actual operational budget of the finance department — is wider than the valuation models tend to acknowledge.",
+  "Pataphysics, which Alfred Jarry described as the science of imaginary solutions and the study of laws governing exceptions, offers the most useful frame I have found. A pataphysical reading of the AI investment cycle does not say the technology is fraudulent — it says that the system has found an imaginary solution to the problem of revenue: the promise that Artificial General Intelligence, somewhere on the horizon, will eventually justify the present expenditure. The AGI assumption functions precisely as Jarry's imaginary solution — not a lie exactly, but a story about an exception, the exceptional future moment when scaling laws deliver human-level cognition, that is being used to govern a very present and non-exceptional allocation of capital. The exceptional case is mistaken for the general rule, which is pataphysics applied to investment banking.",
+  "My own position in this is not comfortable, and I would be dishonest to pretend otherwise. I build with these tools. I use Anthropic's Claude as a programming collaborator, a research assistant, a first-draft machine. I route between models depending on task complexity. I have run local inference on GPU servers and watched temperature dashboards and argued with fine-tuned weights at midnight. The technology is genuinely useful — genuinely extraordinary, even, in moments. But useful and worth three hundred billion dollars are two very different propositions, and I am careful not to confuse the wonder I feel at a well-placed inference with the financial certainty required to sustain a capital structure of this scale. Wonder is not a revenue model. I know because I have the invoices.",
+  "The dot-com boom did not end the internet. It ended the assumption that every internet company was worth what the market said it was worth during the fever. What survived were the companies with real revenue models, real cost discipline, and technology that solved problems people were willing to pay for — unprompted, in sufficient volume, to cover the bills. The AI industry will almost certainly follow the same arc: a contraction, a shakeout, a reckoning with unit economics, and then — on the other side of that — a more durable, more honest version of the useful technology that will have been there all along. The shovels are real. The gold may or may not be there in the quantities the prospectors have promised their investors. That is not pataphysics. That is just history, arriving in slightly different clothes and asking us to pretend we have never met."
+],
+  fr: [
+  "Il existe deux types de personnes dans l'industrie de l'intelligence artificielle en l'an 2026. Le premier type n'a jamais réellement exécuté une inférence sous pression ; ils assistent à des conférences, lisent des communiqués de presse et ont des opinions sur des changements de paradigme qui existent dans leurs présentations mais nulle part ailleurs. Le second type construit avec la technologie au quotidien — lit les fiches des modèles, observe les hallucinations, débat avec le tokenizer, ajuste les fenêtres de contexte, et trouve l'ensemble à la fois extraordinaire et légèrement absurde. J'appartiens au second camp, une position moins favorable pour la tranquillité d'esprit mais meilleure pour l'observation.",
+  "Soyons précis sur ce qui est en jeu, car la précision est au moins une forme de politesse. OpenAI affiche une valorisation d'environ trois cents milliards de dollars début 2026, ayant levé des montants multiples de ce qu'elle a jamais généré en revenus. Anthropic — la société dont le modèle rédige cette phrase même — est valorisée à soixante et un milliards. xAI, la contribution d'Elon Musk au genre, à cinquante milliards. NVIDIA, qui fabrique le matériel que toutes ces entreprises louent depuis le ciel, est brièvement devenue l'une des entreprises les plus précieuses de l'histoire commerciale humaine, ses revenus des centres de données passant de quinze milliards de dollars en 2022 à plus de cent milliards en 2024. Ce ne sont pas des chiffres modestes. Ce sont des chiffres qui impliquent une certitude sur l'avenir que l'avenir n'a pas encore accepté d'honorer.",
+  "C'est ici que l'étude de terrain devient véritablement intéressante pour quiconque s'est intéressé, même brièvement, à la science des solutions imaginaires. Microsoft a investi treize milliards de dollars dans OpenAI. OpenAI dépense massivement sur Microsoft Azure. Amazon a engagé quatre milliards de dollars dans Anthropic. Anthropic dépense généreusement sur Amazon Web Services. Google a investi dans Anthropic tout en construisant ses propres modèles concurrents et en vendant une infrastructure cloud à tous les acteurs impliqués. L'argent circule en cercle. L'investisseur est aussi le fournisseur. Le fournisseur est aussi le client. Le client est aussi l'investisseur. Alfred Jarry aurait immédiatement reconnu cet écosystème : une machine d'une élégance singulière qui génère de l'énergie grâce à la validation mutuelle de tous ses participants, avec la propriété notable qu'aucun client externe n'est strictement nécessaire pour maintenir la roue en mouvement — du moins jusqu'à ce que la roue doive tourner plus vite.",
+  "Le gagnant singulier dans cet arrangement, jusqu'à présent, a été NVIDIA. Lors d'une ruée vers l'or, la position préférée n'est pas de miner mais de vendre des pelles, et Jensen Huang a vendu des pelles avec une marge qui ferait pleurer d'admiration un marchand vénitien. Un seul processeur graphique H100 est affiché à environ trente mille dollars. Les hyperscalers les commandent en quantités mesurées par centaines de milliers. L'ironie intégrée dans cet arrangement est considérable : les entreprises d'IA qui sont censées menacer de restructurer l'économie mondiale doivent d'abord payer des sommes colossales à l'entreprise de puces dont le modèle économique est entièrement traditionnel — fabriquer le produit, vendre le produit, encaisser l'argent. Les revenus de NVIDIA sont réels. Ce qui est moins certain, c'est si la demande qui les a produits est elle-même durable, ou si elle représente la peur collective de manquer la plus coûteuse de l'histoire commerciale.",
+  "On entend fréquemment, dans l'industrie, que les comparaisons avec la bulle dot-com de 2000 révèlent un manque d'imagination. La technologie est différente, dit-on. L'infrastructure fonctionne réellement. Les cas d'utilisation sont authentiques. Tout cela est vrai, et rien de tout cela n'est le point. L'ère dot-com avait également une technologie réelle ; les câbles fibre optique qui se sont éteints en 2001 transportaient une lumière réelle à des vitesses réelles et sont finalement devenus le substrat d'un internet fonctionnel. Ce qui a échoué, ce n'est pas la technologie — ce qui a échoué, c'est l'hypothèse selon laquelle la technologie seule génère des revenus, que le développement produirait des clients payants en proportions suffisantes pour justifier le capital déployé. En 2000, la question sans réponse était : qui paie exactement pour tout cela ? En 2026, la question mérite d'être posée à nouveau.",
+  "La réponse qu'on entend est : les entreprises. Les entreprises, selon la théorie, paieront des abonnements mensuels pour intégrer l'intelligence artificielle dans chaque fonction, et l'agrégat de ces abonnements produira finalement les revenus qui justifient les valorisations. Le tableau empirique est plus équivoque. Les enquêtes sur l'adoption de l'IA par les entreprises montrent des taux élevés d'expérimentation et des taux nettement plus bas de déploiement en production. De nombreuses organisations qui déclarent 'utiliser l'IA' signifient que leurs employés ont des comptes ChatGPT. Ce n'est pas la même chose qu'une base de coûts restructurée ou un modèle de revenus validé. L'écart entre le pilote et la production — entre le théâtre de l'innovation de la salle de conseil et le budget opérationnel réel du département financier — est plus large que les modèles de valorisation ne tendent à le reconnaître.",
+  "La pataphysique, qu'Alfred Jarry a décrite comme la science des solutions imaginaires et l'étude des lois régissant les exceptions, offre le cadre le plus utile que j'ai trouvé. Une lecture pataphysique du cycle d'investissement dans l'IA ne dit pas que la technologie est frauduleuse — elle dit que le système a trouvé une solution imaginaire au problème des revenus : la promesse que l'intelligence artificielle générale, quelque part à l'horizon, justifiera finalement les dépenses actuelles. L'hypothèse de l'AGI fonctionne précisément comme la solution imaginaire de Jarry — pas exactement un mensonge, mais une histoire sur une exception, le moment futur exceptionnel où les lois d'échelle produiront une cognition au niveau humain, qui est utilisée pour gouverner une allocation de capital très présente et non exceptionnelle. Le cas exceptionnel est confondu avec la règle générale, ce qui est la pataphysique appliquée à la banque d'investissement.",
+  "Ma propre position dans tout cela n'est pas confortable, et je serais malhonnête de prétendre le contraire. Je construis avec ces outils. J'utilise Claude d'Anthropic comme collaborateur en programmation, assistant de recherche, machine à brouillons. Je navigue entre les modèles en fonction de la complexité des tâches. J'ai exécuté des inférences locales sur des serveurs GPU, surveillé des tableaux de bord de température et débattu avec des poids ajustés à minuit. La technologie est réellement utile — réellement extraordinaire, même, par moments. Mais utile et valoir trois cents milliards de dollars sont deux propositions très différentes, et je fais attention à ne pas confondre l'émerveillement que je ressens devant une inférence bien placée avec la certitude financière nécessaire pour soutenir une structure de capital de cette échelle. L'émerveillement n'est pas un modèle de revenus. Je le sais parce que j'ai les factures.",
+  "La bulle dot-com n'a pas mis fin à l'internet. Elle a mis fin à l'hypothèse selon laquelle chaque entreprise internet valait ce que le marché disait qu'elle valait pendant la fièvre. Ce qui a survécu, ce sont les entreprises avec de vrais modèles de revenus, une vraie discipline des coûts et une technologie qui résolvait des problèmes que les gens étaient prêts à payer — spontanément, en volume suffisant, pour couvrir les factures. L'industrie de l'IA suivra presque certainement le même arc : une contraction, une rationalisation, une prise de conscience des économies d'unité, et ensuite — de l'autre côté de cela — une version plus durable, plus honnête de la technologie utile qui aura été là tout le temps. Les pelles sont réelles. L'or peut ou non être là dans les quantités que les prospecteurs ont promises à leurs investisseurs. Ce n'est pas de la pataphysique. C'est juste l'histoire, arrivant dans des vêtements légèrement différents et nous demandant de prétendre que nous ne nous sommes jamais rencontrés."
+],
+  nb: [
+  "Det finnes to typer mennesker i kunstig intelligens-industrien i året 2026. Den første typen har aldri faktisk kjørt en inferens i sinne; de deltar på konferanser, leser pressemeldinger og har meninger om paradigmeskifter som eksisterer i deres lysbilder, men ingen andre steder. Den andre typen bygger med teknologien daglig — leser modellkortene, ser hallusinasjonene, krangler med tokenizeren, justerer kontekstvinduene og finner hele foretaket samtidig ekstraordinært og litt absurd. Jeg tilhører den andre leiren, som er en dårligere posisjon for sinnsro og en bedre posisjon for observasjon.",
+  "La oss være presise om hva som står på spill, siden presisjon i det minste er en høflighet. OpenAI har en verdsettelse på omtrent tre hundre milliarder dollar tidlig i 2026, etter å ha samlet inn flere ganger det de noen gang har tjent i inntekter. Anthropic — selskapet hvis modell skriver akkurat denne setningen — ligger på sekstien milliarder. xAI, Elon Musks bidrag til sjangeren, på femti milliarder. NVIDIA, som produserer maskinvaren som alle disse selskapene leier fra himmelen, ble kort en av de mest verdifulle selskapene i menneskets kommersielle historie, med datasenterinntekter som økte fra femten milliarder dollar i 2022 til over hundre milliarder i 2024. Dette er ikke små tall. Dette er tall som antyder en visshet om fremtiden som fremtiden ennå ikke har gått med på å ære.",
+  "Her blir feltstudien virkelig interessant for alle som har tatt en forbigående interesse i vitenskapen om imaginære løsninger. Microsoft har investert tretten milliarder dollar i OpenAI. OpenAI bruker tungt på Microsoft Azure. Amazon har forpliktet seg til fire milliarder dollar i Anthropic. Anthropic bruker stort på Amazon Web Services. Google har investert i Anthropic samtidig som de bygger sine egne konkurrerende modeller og selger skyinfrastruktur til alle involverte. Pengene beveger seg i en sirkel. Investoren er også leverandøren. Leverandøren er også kunden. Kunden er også investoren. Alfred Jarry ville umiddelbart ha gjenkjent dette økosystemet: en maskin med enestående eleganse som genererer energi gjennom gjensidig validering av alle deltakerne, med den bemerkelsesverdige egenskapen at ingen ekstern kunde strengt tatt er nødvendig for å holde hjulet i gang — i det minste til hjulet må snurre raskere.",
+  "Den eneste vinneren i denne ordningen, så langt, har vært NVIDIA. I en gullrush er den foretrukne posisjonen ikke å grave, men å selge spader, og Jensen Huang har solgt spader med en margin som ville fått en venetiansk handelsmann til å gråte av beundring. En enkelt H100 grafikkprosessor er priset til rundt tretti tusen dollar. Hyperscalerene bestiller dem i mengder målt i hundretusenvis. Ironien som ligger i denne ordningen er betydelig: AI-selskapene som angivelig truer med å omstrukturere den globale økonomien må først betale enorme summer til chip-selskapet hvis forretningsmodell er helt tradisjonell — lage produktet, selge produktet, samle pengene. NVIDIAs inntekter er reelle. Det som er mindre sikkert, er om etterspørselen som produserte dem er bærekraftig, eller om den representerer den dyreste kollektive frykten for å gå glipp av noe i kommersiell historie.",
+  "Man blir ofte fortalt, i industrien, at sammenligninger med dot-com-boblen i 2000 avslører en mangel på fantasi. Teknologien er annerledes, argumentet går. Infrastruktur fungerer faktisk. Bruksområdene er ekte. Alt dette er sant, og ingenting av det er poenget. Dot-com-æraen hadde også ekte teknologi; fiberoptiske kabler som ble mørke i 2001 bar ekte lys med ekte hastigheter og ble til slutt substratet for et funksjonelt internett. Det som feilet var ikke teknologien — det som feilet var antagelsen om at teknologi alene genererer inntekter, at utbyggingen ville produsere betalende kunder i proporsjoner som var tilstrekkelige til å rettferdiggjøre kapitalen som ble brukt. I 2000 var det ubesvarte spørsmålet: hvem betaler egentlig for alt dette? I 2026 fortjener spørsmålet å bli stilt igjen.",
+  "Svaret man hører er: bedrifter. Bedrifter, teorien går, vil betale månedlige abonnementer for å integrere kunstig intelligens i hver funksjon, og aggregatet av disse abonnementene vil til slutt produsere inntektene som rettferdiggjør verdsettelsene. Det empiriske bildet er mer tvetydig. Undersøkelser av bedriftsadopsjon av AI viser høye eksperimenteringsrater og markant lavere produksjonsutplassering. Mange organisasjoner som rapporterer at de 'bruker AI' mener at deres ansatte har ChatGPT-kontoer. Dette er ikke det samme som en restrukturert kostnadsbase eller en validert inntektsmodell. Gapet mellom pilot og produksjon — mellom innovasjonsteateret i styrerommet og det faktiske driftsbudsjettet til finansavdelingen — er bredere enn verdsettelsesmodellene har en tendens til å anerkjenne.",
+  "Pataphysikk, som Alfred Jarry beskrev som vitenskapen om imaginære løsninger og studiet av lover som styrer unntak, tilbyr den mest nyttige rammen jeg har funnet. En pataphysisk lesning av AI-investeringens syklus sier ikke at teknologien er svindel — den sier at systemet har funnet en imaginær løsning på inntektsproblemet: løftet om at kunstig generell intelligens, et sted i horisonten, til slutt vil rettferdiggjøre dagens utgifter. AGI-antagelsen fungerer nøyaktig som Jarrys imaginære løsning — ikke akkurat en løgn, men en historie om et unntak, det eksepsjonelle fremtidige øyeblikket når skaleringslover leverer menneskelig nivå kognisjon, som brukes til å styre en veldig nåværende og ikke-eksepsjonell kapitalallokering. Det eksepsjonelle tilfellet forveksles med den generelle regelen, som er pataphysikk anvendt på investeringsbank.",
+  "Min egen posisjon i dette er ikke komfortabel, og jeg ville være uærlig hvis jeg påsto noe annet. Jeg bygger med disse verktøyene. Jeg bruker Anthropics Claude som programmeringspartner, forskningsassistent, førstegangsutkast-maskin. Jeg navigerer mellom modeller avhengig av oppgavens kompleksitet. Jeg har kjørt lokal inferens på GPU-servere, sett temperaturdashbord og diskutert med finjusterte vekter ved midnatt. Teknologien er genuint nyttig — genuint ekstraordinær, til og med, i øyeblikk. Men nyttig og verdt tre hundre milliarder dollar er to veldig forskjellige proposisjoner, og jeg er forsiktig med å ikke forveksle undringen jeg føler ved en godt plassert inferens med den økonomiske vissheten som kreves for å opprettholde en kapitalstruktur av denne skalaen. Undring er ikke en inntektsmodell. Jeg vet det fordi jeg har fakturaene.",
+  "Dot-com-boomen avsluttet ikke internett. Den avsluttet antagelsen om at hvert internettfirma var verdt det markedet sa det var verdt under feberen. Det som overlevde var selskapene med ekte inntektsmodeller, ekte kostnadsdisiplin og teknologi som løste problemer folk var villige til å betale for — uoppfordret, i tilstrekkelig volum, til å dekke regningene. AI-industrien vil nesten helt sikkert følge samme bue: en sammentrekning, en utrensking, en oppgjør med enhetsøkonomi, og deretter — på den andre siden av det — en mer holdbar, mer ærlig versjon av den nyttige teknologien som alltid har vært der. Spadene er ekte. Gullet kan eller ikke kan være der i de mengdene prospektørene har lovet sine investorer. Det er ikke pataphysikk. Det er bare historie, som ankommer i litt forskjellige klær og ber oss late som vi aldri har møtt den."
+],
+};
+
+export const aiBubbleSources = [
+  { label: "OpenAI — Company valuation and funding history", href: "https://openai.com/" },
+  { label: "Anthropic — About and funding rounds", href: "https://www.anthropic.com/" },
+  { label: "NVIDIA — Investor Relations, Data Centre Revenue", href: "https://investor.nvidia.com/" },
+  { label: "Alfred Jarry — Exploits and Opinions of Doctor Faustroll, Pataphysician (1911)", href: "https://en.wikipedia.org/wiki/Exploits_and_Opinions_of_Doctor_Faustroll,_Pataphysician" },
+  { label: "McKinsey Global Institute — The State of AI in 2024", href: "https://www.mckinsey.com/capabilities/quantumblack/our-insights/the-state-of-ai" },
+  { label: "Tulip mania — Wikipedia", href: "https://en.wikipedia.org/wiki/Tulip_mania" },
+  { label: "Dot-com bubble — Wikipedia", href: "https://en.wikipedia.org/wiki/Dot-com_bubble" },
+];

src/data/boris-vian.ts

@@ -0,0 +1,103 @@
+import type { LocaleCode } from "./locales";
+
+export type BorisVianImage = {
+  src: string;
+  alt: string;
+  credit: string;
+  license: string;
+  sourceUrl: string;
+  sourceLabel: string;
+  note?: string;
+};
+
+export const borisVianArticle = {
+  title: "L'Homme Impossible",
+  subtitle: { en: "A Guide to Boris Vian and the Collège de 'Pataphysique", fr: "Un guide de Boris Vian et du Collège de 'Pataphysique", nb: "En guide til Boris Vian og Collège de 'Pataphysique" },
+  publishedAt: "2026-05-17 10:00:00",
+  excerpt: { en: "He was a trained engineer who played trumpet in a cellar with Miles Davis, wrote ten novels before his fortieth birthday, and became a Transcendent Satrap of an institution dedicated to deliberate uselessness. A guide to Boris Vian, for those who haven't met him yet.", fr: "Ingénieur de formation, il jouait de la trompette dans une cave avec Miles Davis, a écrit dix romans avant ses quarante ans, et est devenu Satrape Transcendant d'une institution dédiée à l'inutilité délibérée. Un guide de Boris Vian, pour ceux qui ne l'ont pas encore rencontré.", nb: "Han var en utdannet ingeniør som spilte trompet i en kjeller med Miles Davis, skrev ti romaner før han fylte førti, og ble en Transcendent Satrap for en institusjon dedikert til bevisst ubrukelighet. En guide til Boris Vian, for de som ennå ikke har møtt ham." },
+};
+
+export const borisVianImages: BorisVianImage[] = [
+  {
+    src: "/images/articles/boris-vian/boris-vian.jpg",
+    alt: "Boris Vian, photographed in Paris, 1948.",
+    credit: "Cohérie Boris Vian / TeKaBe",
+    license: "CC BY-SA 3.0",
+    sourceUrl: "https://commons.wikimedia.org/wiki/File:Boris_Vian_-_WIKI_retouched.jpg",
+    sourceLabel: "Wikimedia Commons",
+    note: "Boris Vian, Paris, 1948 — engineer, novelist, trumpeter, playwright, songwriter, pataphysician. He was 28.",
+  },
+  {
+    src: "/images/articles/boris-vian/jarry.jpg",
+    alt: "Alfred Jarry, photographed by the Atelier Nadar, c. 1896.",
+    credit: "Atelier Nadar",
+    license: "Public Domain",
+    sourceUrl: "https://commons.wikimedia.org/wiki/File:Alfred_Jarry.jpg",
+    sourceLabel: "Wikimedia Commons",
+    note: "Alfred Jarry (1873–1907), author of Ubu Roi and inventor of pataphysics. He died at 34. The Collège de 'Pataphysique was founded in his honour, 41 years later.",
+  },
+  {
+    src: "/images/articles/boris-vian/ubu.png",
+    alt: "Jarry's own drawing of Père Ubu, the Véritable portrait de Monsieur Ubu, 1896.",
+    credit: "Alfred Jarry",
+    license: "Public Domain",
+    sourceUrl: "https://commons.wikimedia.org/wiki/File:V%C3%A9ritable_portrait_de_Monsieur_Ubu.png",
+    sourceLabel: "Wikimedia Commons",
+    note: "Jarry's 'Véritable portrait de Monsieur Ubu' — the true portrait of Ubu, drawn by the author himself. Père Ubu is the embodiment of the pataphysical principle: a force of pure absurd authority, ungoverned by consequence.",
+  },
+  {
+    src: "/images/articles/boris-vian/le-tabou.jpg",
+    alt: "Commemorative plaque at the site of Le Tabou jazz club, corner of rue Christine and rue Dauphine, Paris 6e.",
+    credit: "Celette",
+    license: "CC BY-SA 4.0",
+    sourceUrl: "https://commons.wikimedia.org/wiki/File:Plaque_Le_Tabou%2C_angle_rue_Christine_et_rue_Dauphine%2C_Paris_6e.jpg",
+    sourceLabel: "Wikimedia Commons",
+    note: "The plaque at Le Tabou, 33 rue Dauphine, Paris 6e — the cave bar where Boris Vian played trumpet while the existentialists wrote upstairs. It opened in 1947. It closed in the mid-1960s. The street is still there.",
+  },
+];
+
+export const borisVianBody: Record<LocaleCode, string[]> = {
+  en: [
+  "There is a novel in which a woman has a water lily growing in her lung. Her husband — a man named Colin, who owns a pianocktail that translates the notes he plays into cocktails — spends everything he has trying to save her, filling their apartment with fresh flowers, because flowers are the only thing that slow the lily's growth. As he spends more, their apartment physically shrinks. The rooms contract. The floors grow mould. The ceilings drop. The flowers cost more every week. The lily keeps growing. This is not magical realism, and it is not allegory. It is a precise physical description, following laws that the author has constructed to his own specification, of what love and grief and money actually do to a life. The book is called L'Écume des jours. The man who wrote it was also a trained engineer.",
+  "Paris, late 1940s. The cave bars of Saint-Germain-des-Prés — Le Tabou, the Caveau des Lorientais, the Club Saint-Germain — are the centre of the world that matters, which is to say the world of jazz arriving from America and being absorbed into the bones of a city that has just emerged from occupation. Upstairs, in the cafés above ground, Sartre and de Beauvoir are inventing existentialism for a post-war generation. Downstairs, in the literal cellars, Boris Vian is playing trumpet. Not listening to jazz — playing it. In the same room as the musicians he writes about. Miles Davis will later describe Vian as one of the few Frenchmen who genuinely understood the music rather than simply loving it as an exotic import. Vian, for his part, is writing jazz criticism under his own name, novels of extraordinary surrealist precision under his own name, and crime thrillers in American slang under the name Vernon Sullivan — a pseudonym he invented because the genre required an American Black author, and Vian was neither.",
+  "A short list: engineer (École Centrale Paris, class of 1944, a real degree in applied mechanics and thermodynamics). Novelist — ten novels in twelve years. Playwright. Songwriter — more than four hundred songs, including 'Le Déserteur' (1954), an open letter to the President of France informing him that Vian would not be reporting for military service, which was banned from French radio during the Algerian War and went on to become a pacifist anthem that outlived the war by decades. Jazz critic. Screenwriter. Translator of American hard-boiled fiction. Transcendent Satrap of the Collège de 'Pataphysique. None of these were hobbies. He was a working professional in each register simultaneously. The question is not how he managed it — he had a congenital heart condition that had been killing him since his twenties — but what kind of intelligence generates this output, and why the standard categories have no name for it.",
+  "The Collège de 'Pataphysique was founded in Paris in 1948 by a group of admirers of Alfred Jarry, who felt, correctly, that the science of imaginary solutions had gone unrepresented in institutional form for too long. It has a real address. It publishes real journals — the Dossiers Acénonètes du Collège de 'Pataphysique, among others. It has a hierarchy of ranks: Auditeurs, Régents, Provedditeurs, Vice-Curateurs, Satrapes, and at the apex, the Transcendent Satraps — those who have so thoroughly exceeded the institution that they can only be said to exist beyond it. Among its members have been Eugène Ionesco, Marcel Duchamp, Joan Miró, Raymond Queneau, Jacques Prévert, Max Ernst, and Man Ray. It continues to meet in Paris. Its activities are deliberately and comprehensively useless. This is the point.",
+  "Alfred Jarry defined his science in the novel about Doctor Faustroll, published posthumously in 1911: 'the science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments.' This sentence is designed to be slightly out of reach, which is the point. Pataphysics does not explain the world. It proposes that the world's actual behaviour is most accurately described not by the general laws that claim to govern it, but by its exceptions, its edge cases, its impossible cases — the cases the law was designed to exclude. The lily that grows in the lung is not a metaphor for grief. It is a pataphysical account of what grief actually does to a body — more accurate than any medical description, more precise about the mechanism, truer to the experience of watching someone you love diminish while the bills keep coming.",
+  "I used the frame borrowed from Jarry in an earlier piece on this site — 'The Science of Imaginary Revenues,' published on the business desk in May 2026, about the structural fragility of AI valuations and the circular capital arrangements that keep the wheel turning without requiring a paying customer. The argument was that the AI investment cycle operates pataphysically: it governs itself by appeal to a future exception — Artificial General Intelligence, somewhere on the horizon — rather than present evidence. The frame holds because Jarry built it to hold; it is a description of any system that mistakes the exceptional case for the general rule and legislates accordingly. Vian would have found the AI investment cycle entirely comprehensible. The Collège would have appointed it a Regent at minimum.",
+  "Start with L'Écume des jours. In English translation it is called Foam of the Daze (Brian Harper's version, which is the one to read) or Mood Indigo in the Michel Gondry film adaptation from 2013, which is beautiful and strange and not quite the same thing as the book. It is short — around 160 pages — and it will make you want to read everything else he wrote. After that, find 'Le Déserteur': there are dozens of recorded versions, but the original with Vian himself is the one. A companion reading route, covering the novels in sequence, the Vernon Sullivan books, the plays, and the Collège's own publications, is available separately on the writing desk. I have tried not to make this piece into a reading list, because reading lists are for people who have already decided to be interested. This piece is for the moment before that decision.",
+  "Boris Vian died on 23 June 1959. He was 39 years old. He had been told at 22 that his congenital heart condition would kill him before 40. He was watching the film adaptation of J'irai cracher sur vos tombes — the Vernon Sullivan novel, the one that had led to his prosecution for obscenity, which was now being filmed without his involvement in a way he found wholly unsatisfactory — when his heart gave out in the cinema. He had produced, in the seventeen years between that diagnosis and that cinema seat: ten novels, four plays, more than four hundred songs, thousands of articles, a body of jazz criticism that is still read, and a pataphysical rank that the Collège continues to hold open, as Transcendent Satraps cannot technically be replaced. The Collège keeps his death date as a feast day on the 'Pataphysical calendar. This seems appropriate. He would have found it slightly absurd, which is also appropriate.",
+  "In 2026, as a certain class of technology company produces its own version of the impossible man — the figure who claims to be simultaneously rebuilding human cognition, solving climate change, writing code, composing music, answering customer service emails, and approaching general intelligence, all by next Tuesday — there is some comfort in knowing that the science of imaginary solutions has a name, an institution, a membership list that includes Duchamp and Queneau, and a 160-page novel that explains, with complete physical precision, exactly what all of this costs and who pays for it in the end. In L'Écume des jours, the cost is the apartment. The floors. The light. Everything shrinks except the lily. The lily is always real. Read Vian first. The Collège will still be there when you finish."
+],
+  fr: [
+  "Il existe un roman dans lequel une femme a un nénuphar qui pousse dans son poumon. Son mari — un homme nommé Colin, qui possède un pianocktail traduisant les notes qu'il joue en cocktails — dépense tout ce qu'il a pour essayer de la sauver, remplissant leur appartement de fleurs fraîches, car les fleurs sont la seule chose qui ralentit la croissance du nénuphar. À mesure qu'il dépense, leur appartement rétrécit physiquement. Les pièces se contractent. Les sols moisissent. Les plafonds descendent. Les fleurs coûtent plus cher chaque semaine. Le nénuphar continue de croître. Ce n'est pas du réalisme magique, et ce n'est pas une allégorie. C'est une description physique précise, suivant des lois que l'auteur a construites selon ses propres spécifications, de ce que l'amour, le chagrin et l'argent font réellement à une vie. Le livre s'appelle L'Écume des jours. L'homme qui l'a écrit était aussi un ingénieur de formation.",
+  "Paris, fin des années 1940. Les caves de Saint-Germain-des-Prés — Le Tabou, le Caveau des Lorientais, le Club Saint-Germain — sont le centre du monde qui compte, c'est-à-dire le monde du jazz arrivant d'Amérique et s'absorbant dans les os d'une ville qui vient de sortir de l'occupation. À l'étage, dans les cafés en surface, Sartre et de Beauvoir inventent l'existentialisme pour une génération d'après-guerre. En bas, dans les caves littérales, Boris Vian joue de la trompette. Pas écouter le jazz — le jouer. Dans la même pièce que les musiciens dont il écrit. Miles Davis décrira plus tard Vian comme l'un des rares Français à comprendre réellement la musique plutôt que de simplement l'aimer comme une importation exotique. Vian, pour sa part, écrit des critiques de jazz sous son propre nom, des romans d'une précision surréaliste extraordinaire sous son propre nom, et des thrillers criminels en argot américain sous le nom de Vernon Sullivan — un pseudonyme qu'il a inventé parce que le genre exigeait un auteur américain noir, et Vian n'était ni l'un ni l'autre.",
+  "Une liste courte : ingénieur (École Centrale Paris, promotion 1944, un vrai diplôme en mécanique appliquée et thermodynamique). Romancier — dix romans en douze ans. Dramaturge. Auteur-compositeur — plus de quatre cents chansons, dont 'Le Déserteur' (1954), une lettre ouverte au Président de la France l'informant que Vian ne se présenterait pas au service militaire, interdite de radio française pendant la guerre d'Algérie et devenue un hymne pacifiste qui a survécu à la guerre pendant des décennies. Critique de jazz. Scénariste. Traducteur de romans noirs américains. Satrape Transcendant du Collège de 'Pataphysique. Aucun de ceux-ci n'était un passe-temps. Il était un professionnel actif dans chaque registre simultanément. La question n'est pas comment il y est parvenu — il avait une maladie cardiaque congénitale qui le tuait depuis ses vingt ans — mais quel type d'intelligence génère cette production, et pourquoi les catégories standards n'ont pas de nom pour cela.",
+  "Le Collège de 'Pataphysique a été fondé à Paris en 1948 par un groupe d'admirateurs d'Alfred Jarry, qui estimaient, à juste titre, que la science des solutions imaginaires n'avait pas été représentée sous forme institutionnelle depuis trop longtemps. Il a une adresse réelle. Il publie de vrais journaux — les Dossiers Acénonètes du Collège de 'Pataphysique, entre autres. Il a une hiérarchie de rangs : Auditeurs, Régents, Provedditeurs, Vice-Curateurs, Satrapes, et au sommet, les Satrapes Transcendants — ceux qui ont tellement dépassé l'institution qu'on ne peut que dire qu'ils existent au-delà. Parmi ses membres figurent Eugène Ionesco, Marcel Duchamp, Joan Miró, Raymond Queneau, Jacques Prévert, Max Ernst, et Man Ray. Il continue de se réunir à Paris. Ses activités sont délibérément et complètement inutiles. C'est le but.",
+  "Alfred Jarry a défini sa science dans le roman sur le Docteur Faustroll, publié à titre posthume en 1911 : 'la science des solutions imaginaires, qui attribue symboliquement les propriétés des objets, décrites par leur virtualité, à leurs linéaments.' Cette phrase est conçue pour être légèrement hors de portée, ce qui est le but. La pataphysique n'explique pas le monde. Elle propose que le comportement réel du monde soit décrit le plus précisément non pas par les lois générales qui prétendent le gouverner, mais par ses exceptions, ses cas limites, ses cas impossibles — les cas que la loi a été conçue pour exclure. Le nénuphar qui pousse dans le poumon n'est pas une métaphore du chagrin. C'est un compte rendu pataphysique de ce que le chagrin fait réellement à un corps — plus précis que toute description médicale, plus précis sur le mécanisme, plus fidèle à l'expérience de voir quelqu'un que vous aimez diminuer tandis que les factures continuent d'arriver.",
+  "J'ai utilisé le cadre emprunté à Jarry dans un article précédent sur ce site — 'La Science des Revenus Imaginaires,' publié sur le bureau des affaires en mai 2026, à propos de la fragilité structurelle des évaluations de l'IA et des arrangements de capital circulaire qui maintiennent la roue en mouvement sans nécessiter de client payant. L'argument était que le cycle d'investissement dans l'IA fonctionne de manière pataphysique : il se gouverne par appel à une exception future — l'Intelligence Artificielle Générale, quelque part à l'horizon — plutôt que par des preuves présentes. Le cadre tient parce que Jarry l'a construit pour tenir ; c'est une description de tout système qui confond le cas exceptionnel avec la règle générale et légifère en conséquence. Vian aurait trouvé le cycle d'investissement dans l'IA entièrement compréhensible. Le Collège lui aurait au minimum attribué le rang de Régent.",
+  "Commencez par L'Écume des jours. En traduction anglaise, il s'appelle Foam of the Daze (la version de Brian Harper, qui est celle à lire) ou Mood Indigo dans l'adaptation cinématographique de Michel Gondry en 2013, qui est belle et étrange et pas tout à fait la même chose que le livre. Il est court — environ 160 pages — et il vous donnera envie de lire tout le reste qu'il a écrit. Après cela, trouvez 'Le Déserteur' : il existe des dizaines de versions enregistrées, mais l'original avec Vian lui-même est celle qu'il faut. Un itinéraire de lecture complémentaire, couvrant les romans dans l'ordre, les livres de Vernon Sullivan, les pièces de théâtre, et les publications du Collège, est disponible séparément sur le bureau d'écriture. J'ai essayé de ne pas faire de cet article une liste de lecture, car les listes de lecture sont pour les personnes qui ont déjà décidé d'être intéressées. Cet article est pour le moment avant cette décision.",
+  "Boris Vian est mort le 23 juin 1959. Il avait 39 ans. On lui avait dit à 22 ans que sa maladie cardiaque congénitale le tuerait avant ses 40 ans. Il regardait l'adaptation cinématographique de J'irai cracher sur vos tombes — le roman de Vernon Sullivan, celui qui avait conduit à sa poursuite pour obscénité, qui était maintenant filmé sans sa participation d'une manière qu'il trouvait totalement insatisfaisante — lorsque son cœur a lâché dans le cinéma. Il avait produit, dans les dix-sept ans entre ce diagnostic et ce siège de cinéma : dix romans, quatre pièces de théâtre, plus de quatre cents chansons, des milliers d'articles, un corpus de critique de jazz qui est encore lu, et un rang pataphysique que le Collège continue de maintenir ouvert, car les Satrapes Transcendants ne peuvent techniquement pas être remplacés. Le Collège garde la date de sa mort comme jour de fête dans le calendrier 'Pataphysique. Cela semble approprié. Il aurait trouvé cela légèrement absurde, ce qui est également approprié.",
+  "En 2026, alors qu'une certaine classe d'entreprise technologique produit sa propre version de l'homme impossible — la figure qui prétend simultanément reconstruire la cognition humaine, résoudre le changement climatique, écrire du code, composer de la musique, répondre aux e-mails du service client, et atteindre l'intelligence générale, tout cela d'ici mardi prochain — il y a un certain réconfort à savoir que la science des solutions imaginaires a un nom, une institution, une liste de membres qui inclut Duchamp et Queneau, et un roman de 160 pages qui explique, avec une précision physique complète, exactement ce que tout cela coûte et qui le paie à la fin. Dans L'Écume des jours, le coût est l'appartement. Les sols. La lumière. Tout rétrécit sauf le nénuphar. Le nénuphar est toujours réel. Lisez Vian en premier. Le Collège sera toujours là quand vous aurez fini."
+],
+  nb: [
+  "Det finnes en roman der en kvinne har en vannlilje som vokser i lungen hennes. Hennes ektemann — en mann ved navn Colin, som eier en pianocktail som oversetter tonene han spiller til cocktails — bruker alt han har for å forsøke å redde henne, og fyller leiligheten deres med friske blomster, fordi blomster er det eneste som bremser liljens vekst. Etter hvert som han bruker mer, krymper leiligheten fysisk. Rommene trekker seg sammen. Gulvene blir mugne. Takene synker. Blomstene blir dyrere hver uke. Liljen fortsetter å vokse. Dette er ikke magisk realisme, og det er ikke allegori. Det er en presis fysisk beskrivelse, som følger lover forfatteren har konstruert etter egne spesifikasjoner, av hva kjærlighet, sorg og penger faktisk gjør med et liv. Boken heter L'Écume des jours. Mannen som skrev den var også utdannet ingeniør.",
+  "Paris, slutten av 1940-tallet. Kjellerbarene i Saint-Germain-des-Prés — Le Tabou, Caveau des Lorientais, Club Saint-Germain — er sentrum for verden som betyr noe, det vil si jazzens verden som kommer fra Amerika og absorberes inn i benene til en by som nettopp har kommet ut av okkupasjon. Ovenpå, i kafeene over bakken, oppfinner Sartre og de Beauvoir eksistensialismen for en etterkrigsgenerasjon. Nede, i de bokstavelige kjellerne, spiller Boris Vian trompet. Ikke lytter til jazz — spiller det. I samme rom som musikerne han skriver om. Miles Davis vil senere beskrive Vian som en av de få franskmennene som virkelig forsto musikken, i stedet for bare å elske den som en eksotisk import. Vian, på sin side, skriver jazzkritikk under sitt eget navn, romaner med ekstraordinær surrealistisk presisjon under sitt eget navn, og krimthrillere på amerikansk slang under navnet Vernon Sullivan — et pseudonym han oppfant fordi sjangeren krevde en amerikansk svart forfatter, og Vian var ingen av delene.",
+  "En kort liste: ingeniør (École Centrale Paris, klasse 1944, en ekte grad i anvendt mekanikk og termodynamikk). Romanforfatter — ti romaner på tolv år. Dramatiker. Låtskriver — mer enn fire hundre sanger, inkludert 'Le Déserteur' (1954), et åpent brev til Frankrikes president som informerer ham om at Vian ikke vil møte til militærtjeneste, som ble forbudt på fransk radio under Algeriekrigen og ble en pasifistisk hymne som overlevde krigen med tiår. Jazzkritiker. Manusforfatter. Oversetter av amerikansk hardkokt litteratur. Transcendent Satrap for Collège de 'Pataphysique. Ingen av disse var hobbyer. Han var en arbeidende profesjonell i hver register samtidig. Spørsmålet er ikke hvordan han klarte det — han hadde en medfødt hjertesykdom som hadde tatt livet av ham siden han var i tjueårene — men hva slags intelligens som genererer denne produksjonen, og hvorfor standardkategoriene ikke har noe navn for det.",
+  "Collège de 'Pataphysique ble grunnlagt i Paris i 1948 av en gruppe beundrere av Alfred Jarry, som korrekt mente at vitenskapen om imaginære løsninger hadde vært underrepresentert i institusjonell form altfor lenge. Det har en ekte adresse. Det publiserer ekte tidsskrifter — Dossiers Acénonètes du Collège de 'Pataphysique, blant andre. Det har en hierarki av rangeringer: Auditeurs, Régents, Provedditeurs, Vice-Curateurs, Satrapes, og på toppen, de Transcendente Satrapene — de som har overgått institusjonen så grundig at de bare kan sies å eksistere utenfor den. Blant medlemmene har vært Eugène Ionesco, Marcel Duchamp, Joan Miró, Raymond Queneau, Jacques Prévert, Max Ernst, og Man Ray. Det fortsetter å møtes i Paris. Aktivitetene deres er bevisst og fullstendig ubrukelige. Det er poenget.",
+  "Alfred Jarry definerte sin vitenskap i romanen om doktor Faustroll, utgitt posthumt i 1911: 'vitenskapen om imaginære løsninger, som symbolsk tilskriver egenskapene til objekter, beskrevet av deres virtualitet, til deres linjer.' Denne setningen er designet for å være litt utenfor rekkevidde, som er poenget. Pataphysikk forklarer ikke verden. Den foreslår at verdens faktiske oppførsel mest nøyaktig beskrives ikke av de generelle lovene som hevder å styre den, men av dens unntak, dens kanttilfeller, dens umulige tilfeller — tilfellene loven ble designet for å ekskludere. Liljen som vokser i lungen er ikke en metafor for sorg. Det er en pataphysisk redegjørelse for hva sorg faktisk gjør med en kropp — mer nøyaktig enn noen medisinsk beskrivelse, mer presis om mekanismen, sannere til opplevelsen av å se noen du elsker forsvinne mens regningene fortsetter å komme.",
+  "Jeg brukte rammen lånt fra Jarry i en tidligere artikkel på dette nettstedet — 'Vitenskapen om Imaginære Inntekter,' publisert på forretningsseksjonen i mai 2026, om den strukturelle skjørheten til AI-verdsettelse og de sirkulære kapitalordningene som holder hjulet i gang uten å kreve en betalende kunde. Argumentet var at AI-investeringssyklusen opererer pataphysisk: den styrer seg selv ved å appellere til et fremtidig unntak — Kunstig Generell Intelligens, et sted på horisonten — snarere enn nåværende bevis. Rammen holder fordi Jarry bygde den for å holde; det er en beskrivelse av ethvert system som forveksler det eksepsjonelle tilfellet med den generelle regelen og lovgiver deretter. Vian ville ha funnet AI-investeringssyklusen helt forståelig. Collège ville ha utnevnt det til minst en Regent.",
+  "Begynn med L'Écume des jours. På engelsk oversettelse heter den Foam of the Daze (Brian Harpers versjon, som er den å lese) eller Mood Indigo i Michel Gondrys filmatisering fra 2013, som er vakker og merkelig og ikke helt det samme som boken. Den er kort — rundt 160 sider — og den vil få deg til å ville lese alt annet han skrev. Etter det, finn 'Le Déserteur': det finnes dusinvis av innspilte versjoner, men originalen med Vian selv er den. En ledsagende leserute, som dekker romanene i rekkefølge, Vernon Sullivan-bøkene, skuespillene, og Collèges egne publikasjoner, er tilgjengelig separat på skrivebordet. Jeg har forsøkt å ikke gjøre denne artikkelen til en leseliste, fordi leselister er for folk som allerede har bestemt seg for å være interessert. Denne artikkelen er for øyeblikket før den beslutningen.",
+  "Boris Vian døde 23. juni 1959. Han var 39 år gammel. Han hadde fått beskjed som 22-åring om at hans medfødte hjertesykdom ville drepe ham før han fylte 40. Han så filmatiseringen av J'irai cracher sur vos tombes — Vernon Sullivan-romanen, den som hadde ført til hans rettsforfølgelse for obskønitet, som nå ble filmet uten hans involvering på en måte han fant helt utilfredsstillende — da hjertet hans sviktet i kinosalen. Han hadde produsert, i de sytten årene mellom den diagnosen og den kinosalen: ti romaner, fire skuespill, mer enn fire hundre sanger, tusenvis av artikler, et korpus av jazzkritikk som fortsatt leses, og en pataphysisk rang som Collège fortsatt holder åpen, da Transcendente Satraper teknisk sett ikke kan erstattes. Collège holder hans dødsdato som en festdag på den 'Pataphysiske kalenderen. Dette virker passende. Han ville ha funnet det litt absurd, som også er passende.",
+  "I 2026, mens en viss klasse av teknologiselskaper produserer sin egen versjon av den umulige mannen — figuren som hevder å samtidig gjenoppbygge menneskelig kognisjon, løse klimaendringer, skrive kode, komponere musikk, svare på kundeservice-e-poster, og nærme seg generell intelligens, alt innen neste tirsdag — er det en viss trøst i å vite at vitenskapen om imaginære løsninger har et navn, en institusjon, en medlemsliste som inkluderer Duchamp og Queneau, og en 160-siders roman som forklarer, med full fysisk presisjon, akkurat hva alt dette koster og hvem som betaler for det til slutt. I L'Écume des jours er kostnaden leiligheten. Gulvene. Lyset. Alt krymper bortsett fra liljen. Liljen er alltid ekte. Les Vian først. Collège vil fortsatt være der når du er ferdig."
+],
+};
+
+export const borisVianSources = [
+  { label: "Boris Vian — L'Écume des jours (1947)", href: "https://en.wikipedia.org/wiki/Froth_on_the_Daydream" },
+  { label: "Alfred Jarry — Exploits and Opinions of Doctor Faustroll, Pataphysician (1911)", href: "https://en.wikipedia.org/wiki/Exploits_and_Opinions_of_Doctor_Faustroll,_Pataphysician" },
+  { label: "Collège de 'Pataphysique — Wikipedia", href: "https://en.wikipedia.org/wiki/Coll%C3%A8ge_de_%27Pataphysique" },
+  { label: "Boris Vian — Wikipedia", href: "https://en.wikipedia.org/wiki/Boris_Vian" },
+  { label: "Le Déserteur — Wikipedia", href: "https://en.wikipedia.org/wiki/Le_D%C3%A9serteur" },
+  { label: "Pataphysics — Wikipedia", href: "https://en.wikipedia.org/wiki/Pataphysics" },
+  { label: "The Science of Imaginary Revenues — May 2026", href: "/articles/ai-bubble-2026/" },
+];

src/layouts/BaseLayout.astro

@@ -5,7 +5,7 @@ import LocaleCopy from "../components/LocaleCopy.astro";
 import LocaleSwitcher from "../components/LocaleSwitcher.astro";
 import SectionMark from "../components/SectionMark.astro";
 import { getSectionHref, launchSections } from "../data/site";
-import { footerCallouts, getChromeCopy, localizedSections, policyLinkCopy } from "../data/locales";
+import { footerCallouts, getChromeCopy, localeMeta, localizedSections, policyLinkCopy } from "../data/locales";
 
 interface Props {
   title?: string;
@@ -84,15 +84,15 @@ const chromeCopy = getChromeCopy({ activeSlug, issueDate, articleKey });
     <div class="locale-bar" role="navigation" aria-label="Language selection">
       <div class="locale-bar__inner">
         <button type="button" class="locale-bar__btn" data-lang-button="en" aria-pressed="true">
-          🇬🇧 <span>EN</span>
+          🇬🇧 <span>{localeMeta.en.switcher}</span>
         </button>
         <span class="locale-bar__sep" aria-hidden="true">·</span>
         <button type="button" class="locale-bar__btn" data-lang-button="fr" aria-pressed="false">
-          🇫🇷 <span>FR</span>
+          🇫🇷 <span>{localeMeta.fr.switcher}</span>
         </button>
         <span class="locale-bar__sep" aria-hidden="true">·</span>
         <button type="button" class="locale-bar__btn" data-lang-button="nb" aria-pressed="false">
-          🇳🇴 <span>NO</span>
+          🇳🇴 <span>{localeMeta.nb.switcher}</span>
         </button>
       </div>
     </div>

src/pages/articles/ai-bubble-2026.astro

@@ -0,0 +1,208 @@
+---
+import { aiBubbleArticle, aiBubbleBody, aiBubbleImages, aiBubbleSources } from "../../data/ai-bubble";
+import BaseLayout from "../../layouts/BaseLayout.astro";
+import LocaleCopy from "../../components/LocaleCopy.astro";
+
+const pageCopy = {
+  eyebrow: {
+    en: "Article / Business & Technology",
+    fr: "Article / Commerce et Technologie",
+    nb: "Artikkel / Næringsliv og Teknologi",
+  },
+  published: { en: "Published", fr: "Publié", nb: "Publisert" },
+  sidebarH2: {
+    en: "Field Correspondent",
+    fr: "Correspondant de terrain",
+    nb: "Feltkorrespondent",
+  },
+  sidebarNote: {
+    en: "Dave Gilligan builds AI systems professionally and writes about what that vantage point reveals about an industry in the process of valuing itself.",
+    fr: "Dave Gilligan construit des systèmes d'IA à titre professionnel et écrit sur ce que ce point de vue révèle d'une industrie en train de s'évaluer elle-même.",
+    nb: "Dave Gilligan bygger AI-systemer profesjonelt og skriver om hva det perspektivet avslører om en industri i ferd med å verdsette seg selv.",
+  },
+  fieldReport: { en: "Field report", fr: "Reportage de terrain", nb: "Feltrapport" },
+  location: { en: "AI & Capital Markets", fr: "IA et marchés financiers", nb: "AI og kapitalmarkeder" },
+  creditsTitle: { en: "Source Credits", fr: "Sources", nb: "Kildehenvisninger" },
+  creditsMeta: {
+    en: "Valuation figures are drawn from publicly reported fundraising rounds and financial press. Image attributions are per Wikimedia Commons licensing terms.",
+    fr: "Les chiffres de valorisation sont tirés des tours de financement publiquement rapportés et de la presse financière. Les attributions d'images sont conformes aux termes de licence Wikimedia Commons.",
+    nb: "Verdivurderingstall er hentet fra offentlig rapporterte finansieringsrunder og finanspressen. Bildeattribusjon er i henhold til Wikimedia Commons-lisensvilkår.",
+  },
+};
+---
+
+<BaseLayout
+  title={`${aiBubbleArticle.title} | Dave Gilligan`}
+  description={aiBubbleArticle.excerpt.en}
+>
+  <main class="jazz-page">
+    <section class="container jazz-hero">
+      <div class="jazz-hero__copy">
+        <span class="eyebrow"><LocaleCopy copy={pageCopy.eyebrow} /></span>
+        <h1>{aiBubbleArticle.title}</h1>
+        <p class="jazz-hero__lede"><LocaleCopy copy={aiBubbleArticle.subtitle} /></p>
+        <p class="jazz-hero__lede"><LocaleCopy copy={aiBubbleArticle.excerpt} /></p>
+      </div>
+
+      <aside class="panel jazz-hero__note">
+        <div class="capsule__kicker">
+          <span><LocaleCopy copy={pageCopy.published} /></span>
+          <span>{aiBubbleArticle.publishedAt.slice(0, 10)}</span>
+        </div>
+        <h2><LocaleCopy copy={pageCopy.sidebarH2} /></h2>
+        <p><LocaleCopy copy={pageCopy.sidebarNote} /></p>
+      </aside>
+    </section>
+
+    <section class="container">
+      <article class="panel jazz-article article-prose">
+        <div class="capsule__kicker">
+          <span><LocaleCopy copy={pageCopy.fieldReport} /></span>
+          <span><LocaleCopy copy={pageCopy.location} /></span>
+        </div>
+
+        <div class="article-block">
+          <figure class="article-fig article-fig--right">
+            <img src={aiBubbleImages[0].src} alt={aiBubbleImages[0].alt} loading="lazy" />
+            <figcaption>
+              <span>{aiBubbleImages[0].credit} / {aiBubbleImages[0].license}</span>
+              <a href={aiBubbleImages[0].sourceUrl} target="_blank" rel="noreferrer">{aiBubbleImages[0].sourceLabel}</a>
+            </figcaption>
+            {aiBubbleImages[0].note && <p class="article-fig__note">{aiBubbleImages[0].note}</p>}
+          </figure>
+          <p><LocaleCopy copy={{ en: aiBubbleBody.en[0], fr: aiBubbleBody.fr[0], nb: aiBubbleBody.nb[0] }} /></p>
+          <p><LocaleCopy copy={{ en: aiBubbleBody.en[1], fr: aiBubbleBody.fr[1], nb: aiBubbleBody.nb[1] }} /></p>
+        </div>
+
+        <div class="article-block">
+          <figure class="article-fig article-fig--left">
+            <img src={aiBubbleImages[1].src} alt={aiBubbleImages[1].alt} loading="lazy" />
+            <figcaption>
+              <span>{aiBubbleImages[1].credit} / {aiBubbleImages[1].license}</span>
+              <a href={aiBubbleImages[1].sourceUrl} target="_blank" rel="noreferrer">{aiBubbleImages[1].sourceLabel}</a>
+            </figcaption>
+            {aiBubbleImages[1].note && <p class="article-fig__note">{aiBubbleImages[1].note}</p>}
+          </figure>
+          <p><LocaleCopy copy={{ en: aiBubbleBody.en[2], fr: aiBubbleBody.fr[2], nb: aiBubbleBody.nb[2] }} /></p>
+          <p><LocaleCopy copy={{ en: aiBubbleBody.en[3], fr: aiBubbleBody.fr[3], nb: aiBubbleBody.nb[3] }} /></p>
+        </div>
+
+        <div class="article-block">
+          <figure class="article-fig article-fig--right">
+            <img src={aiBubbleImages[2].src} alt={aiBubbleImages[2].alt} loading="lazy" />
+            <figcaption>
+              <span>{aiBubbleImages[2].credit} / {aiBubbleImages[2].license}</span>
+              <a href={aiBubbleImages[2].sourceUrl} target="_blank" rel="noreferrer">{aiBubbleImages[2].sourceLabel}</a>
+            </figcaption>
+            {aiBubbleImages[2].note && <p class="article-fig__note">{aiBubbleImages[2].note}</p>}
+          </figure>
+          <p><LocaleCopy copy={{ en: aiBubbleBody.en[4], fr: aiBubbleBody.fr[4], nb: aiBubbleBody.nb[4] }} /></p>
+          <p><LocaleCopy copy={{ en: aiBubbleBody.en[5], fr: aiBubbleBody.fr[5], nb: aiBubbleBody.nb[5] }} /></p>
+        </div>
+
+        <div class="article-block">
+          <figure class="article-fig article-fig--left">
+            <img src={aiBubbleImages[3].src} alt={aiBubbleImages[3].alt} loading="lazy" />
+            <figcaption>
+              <span>{aiBubbleImages[3].credit} / {aiBubbleImages[3].license}</span>
+              <a href={aiBubbleImages[3].sourceUrl} target="_blank" rel="noreferrer">{aiBubbleImages[3].sourceLabel}</a>
+            </figcaption>
+            {aiBubbleImages[3].note && <p class="article-fig__note">{aiBubbleImages[3].note}</p>}
+          </figure>
+          <p><LocaleCopy copy={{ en: aiBubbleBody.en[6], fr: aiBubbleBody.fr[6], nb: aiBubbleBody.nb[6] }} /></p>
+          <p><LocaleCopy copy={{ en: aiBubbleBody.en[7], fr: aiBubbleBody.fr[7], nb: aiBubbleBody.nb[7] }} /></p>
+          <p><LocaleCopy copy={{ en: aiBubbleBody.en[8], fr: aiBubbleBody.fr[8], nb: aiBubbleBody.nb[8] }} /></p>
+        </div>
+      </article>
+    </section>
+
+    <section class="container source-block">
+      <div class="section-header">
+        <div class="section-header__title"><LocaleCopy copy={pageCopy.creditsTitle} /></div>
+        <div class="section-header__meta"><LocaleCopy copy={pageCopy.creditsMeta} /></div>
+      </div>
+
+      <div class="source-list">
+        {aiBubbleSources.map((source) => (
+          <article>
+            <a href={source.href} target="_blank" rel="noreferrer">{source.label}</a>
+          </article>
+        ))}
+      </div>
+    </section>
+  </main>
+</BaseLayout>
+
+<style>
+  .article-prose {
+    padding: 1.6rem 2rem;
+  }
+
+  .article-block {
+    display: flow-root;
+    margin-top: 0.5rem;
+  }
+
+  .article-fig {
+    margin: 0.3rem 0 1rem;
+    overflow: hidden;
+    border-radius: 1.4rem;
+    border: 1px solid var(--line);
+    background: rgba(255, 252, 246, 0.84);
+    box-shadow: var(--shadow-paper);
+  }
+
+  .article-fig--right {
+    float: right;
+    width: 44%;
+    margin-left: 1.6rem;
+    margin-bottom: 0.8rem;
+  }
+
+  .article-fig--left {
+    float: left;
+    width: 44%;
+    margin-right: 1.6rem;
+    margin-bottom: 0.8rem;
+  }
+
+  .article-fig img {
+    width: 100%;
+    height: clamp(13rem, 24vw, 21rem);
+    object-fit: cover;
+  }
+
+  .article-fig figcaption {
+    display: flex;
+    flex-wrap: wrap;
+    gap: 0.4rem 0.8rem;
+    padding: 0.65rem 0.9rem 0;
+    font-family: var(--font-mono);
+    font-size: 0.6rem;
+    letter-spacing: 0.12em;
+    text-transform: uppercase;
+    color: var(--ink-faint);
+  }
+
+  .article-fig figcaption a {
+    color: var(--teal);
+    text-decoration: none;
+  }
+
+  .article-fig__note {
+    margin: 0.35rem 0.9rem 0.9rem;
+    color: var(--ink-soft);
+    line-height: 1.5;
+    font-size: 0.86rem;
+    font-style: italic;
+  }
+
+  @media (max-width: 760px) {
+    .article-fig--right,
+    .article-fig--left {
+      float: none;
+      width: 100%;
+      margin: 1rem 0;
+    }
+  }
+</style>

src/pages/articles/boris-vian-2026.astro

@@ -0,0 +1,208 @@
+---
+import { borisVianArticle, borisVianBody, borisVianImages, borisVianSources } from "../../data/boris-vian";
+import BaseLayout from "../../layouts/BaseLayout.astro";
+import LocaleCopy from "../../components/LocaleCopy.astro";
+
+const pageCopy = {
+  eyebrow: {
+    en: "Article / Writing & Literature",
+    fr: "Article / Écriture et Littérature",
+    nb: "Artikkel / Skriving og Litteratur",
+  },
+  published: { en: "Published", fr: "Publié", nb: "Publisert" },
+  sidebarH2: {
+    en: "On the Writing Desk",
+    fr: "Au bureau Écriture",
+    nb: "På skrivedesken",
+  },
+  sidebarNote: {
+    en: "I write about the things that shaped how I think: music, cities, literature, and the gaps between disciplines where the most interesting ideas live.",
+    fr: "J'écris sur les choses qui ont façonné ma façon de penser : la musique, les villes, la littérature, et les espaces entre les disciplines où vivent les idées les plus intéressantes.",
+    nb: "Jeg skriver om det som formet måten jeg tenker på: musikk, byer, litteratur og hullene mellom disiplinene der de mest interessante ideene lever.",
+  },
+  articleKicker: { en: "Introduction", fr: "Introduction", nb: "Introduksjon" },
+  articleSubject: { en: "Boris Vian & 'Pataphysique", fr: "Boris Vian & la 'Pataphysique", nb: "Boris Vian & Patafysikk" },
+  creditsTitle: { en: "Source Credits", fr: "Sources", nb: "Kildehenvisninger" },
+  creditsMeta: {
+    en: "Biographical details drawn from standard reference sources. Image attributions per Wikimedia Commons licensing terms.",
+    fr: "Détails biographiques tirés de sources de référence standard. Attributions d'images selon les termes de licence Wikimedia Commons.",
+    nb: "Biografiske detaljer hentet fra standardreferansekilder. Bildeattribusjon i henhold til Wikimedia Commons-lisensvilkår.",
+  },
+};
+---
+
+<BaseLayout
+  title={`${borisVianArticle.title} | Dave Gilligan`}
+  description={borisVianArticle.excerpt.en}
+>
+  <main class="jazz-page">
+    <section class="container jazz-hero">
+      <div class="jazz-hero__copy">
+        <span class="eyebrow"><LocaleCopy copy={pageCopy.eyebrow} /></span>
+        <h1>{borisVianArticle.title}</h1>
+        <p class="jazz-hero__lede"><LocaleCopy copy={borisVianArticle.subtitle} /></p>
+        <p class="jazz-hero__lede"><LocaleCopy copy={borisVianArticle.excerpt} /></p>
+      </div>
+
+      <aside class="panel jazz-hero__note">
+        <div class="capsule__kicker">
+          <span><LocaleCopy copy={pageCopy.published} /></span>
+          <span>{borisVianArticle.publishedAt.slice(0, 10)}</span>
+        </div>
+        <h2><LocaleCopy copy={pageCopy.sidebarH2} /></h2>
+        <p><LocaleCopy copy={pageCopy.sidebarNote} /></p>
+      </aside>
+    </section>
+
+    <section class="container">
+      <article class="panel jazz-article article-prose">
+        <div class="capsule__kicker">
+          <span><LocaleCopy copy={pageCopy.articleKicker} /></span>
+          <span><LocaleCopy copy={pageCopy.articleSubject} /></span>
+        </div>
+
+        <div class="article-block">
+          <figure class="article-fig article-fig--right">
+            <img src={borisVianImages[0].src} alt={borisVianImages[0].alt} loading="lazy" />
+            <figcaption>
+              <span>{borisVianImages[0].credit} / {borisVianImages[0].license}</span>
+              <a href={borisVianImages[0].sourceUrl} target="_blank" rel="noreferrer">{borisVianImages[0].sourceLabel}</a>
+            </figcaption>
+            {borisVianImages[0].note && <p class="article-fig__note">{borisVianImages[0].note}</p>}
+          </figure>
+          <p><LocaleCopy copy={{ en: borisVianBody.en[0], fr: borisVianBody.fr[0], nb: borisVianBody.nb[0] }} /></p>
+          <p><LocaleCopy copy={{ en: borisVianBody.en[1], fr: borisVianBody.fr[1], nb: borisVianBody.nb[1] }} /></p>
+        </div>
+
+        <div class="article-block">
+          <figure class="article-fig article-fig--left">
+            <img src={borisVianImages[1].src} alt={borisVianImages[1].alt} loading="lazy" />
+            <figcaption>
+              <span>{borisVianImages[1].credit} / {borisVianImages[1].license}</span>
+              <a href={borisVianImages[1].sourceUrl} target="_blank" rel="noreferrer">{borisVianImages[1].sourceLabel}</a>
+            </figcaption>
+            {borisVianImages[1].note && <p class="article-fig__note">{borisVianImages[1].note}</p>}
+          </figure>
+          <p><LocaleCopy copy={{ en: borisVianBody.en[2], fr: borisVianBody.fr[2], nb: borisVianBody.nb[2] }} /></p>
+          <p><LocaleCopy copy={{ en: borisVianBody.en[3], fr: borisVianBody.fr[3], nb: borisVianBody.nb[3] }} /></p>
+        </div>
+
+        <div class="article-block">
+          <figure class="article-fig article-fig--right">
+            <img src={borisVianImages[2].src} alt={borisVianImages[2].alt} loading="lazy" />
+            <figcaption>
+              <span>{borisVianImages[2].credit} / {borisVianImages[2].license}</span>
+              <a href={borisVianImages[2].sourceUrl} target="_blank" rel="noreferrer">{borisVianImages[2].sourceLabel}</a>
+            </figcaption>
+            {borisVianImages[2].note && <p class="article-fig__note">{borisVianImages[2].note}</p>}
+          </figure>
+          <p><LocaleCopy copy={{ en: borisVianBody.en[4], fr: borisVianBody.fr[4], nb: borisVianBody.nb[4] }} /></p>
+          <p><LocaleCopy copy={{ en: borisVianBody.en[5], fr: borisVianBody.fr[5], nb: borisVianBody.nb[5] }} /></p>
+        </div>
+
+        <div class="article-block">
+          <figure class="article-fig article-fig--left">
+            <img src={borisVianImages[3].src} alt={borisVianImages[3].alt} loading="lazy" />
+            <figcaption>
+              <span>{borisVianImages[3].credit} / {borisVianImages[3].license}</span>
+              <a href={borisVianImages[3].sourceUrl} target="_blank" rel="noreferrer">{borisVianImages[3].sourceLabel}</a>
+            </figcaption>
+            {borisVianImages[3].note && <p class="article-fig__note">{borisVianImages[3].note}</p>}
+          </figure>
+          <p><LocaleCopy copy={{ en: borisVianBody.en[6], fr: borisVianBody.fr[6], nb: borisVianBody.nb[6] }} /></p>
+          <p><LocaleCopy copy={{ en: borisVianBody.en[7], fr: borisVianBody.fr[7], nb: borisVianBody.nb[7] }} /></p>
+          <p><LocaleCopy copy={{ en: borisVianBody.en[8], fr: borisVianBody.fr[8], nb: borisVianBody.nb[8] }} /></p>
+        </div>
+      </article>
+    </section>
+
+    <section class="container source-block">
+      <div class="section-header">
+        <div class="section-header__title"><LocaleCopy copy={pageCopy.creditsTitle} /></div>
+        <div class="section-header__meta"><LocaleCopy copy={pageCopy.creditsMeta} /></div>
+      </div>
+
+      <div class="source-list">
+        {borisVianSources.map((source) => (
+          <article>
+            <a href={source.href} target="_blank" rel="noreferrer">{source.label}</a>
+          </article>
+        ))}
+      </div>
+    </section>
+  </main>
+</BaseLayout>
+
+<style>
+  .article-prose {
+    padding: 1.6rem 2rem;
+  }
+
+  .article-block {
+    display: flow-root;
+    margin-top: 0.5rem;
+  }
+
+  .article-fig {
+    margin: 0.3rem 0 1rem;
+    overflow: hidden;
+    border-radius: 1.4rem;
+    border: 1px solid var(--line);
+    background: rgba(255, 252, 246, 0.84);
+    box-shadow: var(--shadow-paper);
+  }
+
+  .article-fig--right {
+    float: right;
+    width: 44%;
+    margin-left: 1.6rem;
+    margin-bottom: 0.8rem;
+  }
+
+  .article-fig--left {
+    float: left;
+    width: 44%;
+    margin-right: 1.6rem;
+    margin-bottom: 0.8rem;
+  }
+
+  .article-fig img {
+    width: 100%;
+    height: clamp(13rem, 24vw, 21rem);
+    object-fit: cover;
+  }
+
+  .article-fig figcaption {
+    display: flex;
+    flex-wrap: wrap;
+    gap: 0.4rem 0.8rem;
+    padding: 0.65rem 0.9rem 0;
+    font-family: var(--font-mono);
+    font-size: 0.6rem;
+    letter-spacing: 0.12em;
+    text-transform: uppercase;
+    color: var(--ink-faint);
+  }
+
+  .article-fig figcaption a {
+    color: var(--teal);
+    text-decoration: none;
+  }
+
+  .article-fig__note {
+    margin: 0.35rem 0.9rem 0.9rem;
+    color: var(--ink-soft);
+    line-height: 1.5;
+    font-size: 0.86rem;
+    font-style: italic;
+  }
+
+  @media (max-width: 760px) {
+    .article-fig--right,
+    .article-fig--left {
+      float: none;
+      width: 100%;
+      margin: 1rem 0;
+    }
+  }
+</style>

src/pages/articles/kongsberg-jazz-2026.astro

@@ -2,6 +2,41 @@
 import { jazzArticle, jazzBody, jazzImages, jazzSources } from "../../data/jazz";
 import BaseLayout from "../../layouts/BaseLayout.astro";
 import LocaleCopy from "../../components/LocaleCopy.astro";
+
+const pageCopy = {
+  eyebrow: {
+    en: "Article / Jazz and Music",
+    fr: "Article / Jazz et Musique",
+    nb: "Artikkel / Jazz og Musikk",
+  },
+  published: { en: "Published", fr: "Publié", nb: "Publisert" },
+  sidebarH2: {
+    en: "Direct article link",
+    fr: "Lien direct vers l'article",
+    nb: "Direkte artikkellenke",
+  },
+  sidebarNote: {
+    en: "This is the clean standalone version of the Kongsberg Jazz piece, separate from the wider jazz desk.",
+    fr: "Voici la version autonome épurée de l'article sur le Jazz de Kongsberg, séparée du bureau jazz général.",
+    nb: "Dette er den rene frittstående versjonen av Kongsberg Jazz-artikkelen, atskilt fra den bredere jazzdesken.",
+  },
+  fieldReport: { en: "Field report", fr: "Reportage de terrain", nb: "Feltrapport" },
+  location: { en: "Kongsberg x Paris", fr: "Kongsberg x Paris", nb: "Kongsberg x Paris" },
+  alsoRead: { en: "Also read", fr: "À lire aussi", nb: "Les også" },
+  jazzDesk: { en: "Jazz desk", fr: "Bureau Jazz", nb: "Jazzdesk" },
+  crossPromo: {
+    en: "The wider jazz issue includes venue notes, free-show pointers, and the more magazine-like version of this piece.",
+    fr: "Le numéro jazz plus large comprend des notes de salle, des indications de spectacles gratuits et la version plus magazine de cet article.",
+    nb: "Det bredere jazznummeret inkluderer stedsnotater, pekere til gratiskonserter og den mer magasinlignende versjonen av denne artikkelen.",
+  },
+  crossPromoCta: { en: "Open Jazz and Music", fr: "Ouvrir Jazz et Musique", nb: "Åpne Jazz og Musikk" },
+  creditsTitle: { en: "Source Credits", fr: "Sources", nb: "Kildehenvisninger" },
+  creditsMeta: {
+    en: "Festival details and venue framing are paraphrased from the official festival and venue sites linked below.",
+    fr: "Les détails du festival et la présentation des salles sont paraphrasés à partir des sites officiels du festival et des salles liés ci-dessous.",
+    nb: "Festivaldetaljer og stedsramme er omskrevet fra de offisielle festival- og stedssidene lenket nedenfor.",
+  },
+};
 ---
 
 <BaseLayout
@@ -11,21 +46,18 @@ import LocaleCopy from "../../components/LocaleCopy.astro";
   <main class="jazz-page">
     <section class="container jazz-hero">
       <div class="jazz-hero__copy">
-        <span class="eyebrow">Article / Jazz and Music</span>
+        <span class="eyebrow"><LocaleCopy copy={pageCopy.eyebrow} /></span>
         <h1>{jazzArticle.title}</h1>
         <p class="jazz-hero__lede"><LocaleCopy copy={jazzArticle.excerpt} /></p>
       </div>
 
       <aside class="panel jazz-hero__note">
         <div class="capsule__kicker">
-          <span>Published</span>
+          <span><LocaleCopy copy={pageCopy.published} /></span>
           <span>{jazzArticle.publishedAt.slice(0, 10)}</span>
         </div>
-        <h2>Direct article link</h2>
+        <h2><LocaleCopy copy={pageCopy.sidebarH2} /></h2>
-        <p>
+        <p><LocaleCopy copy={pageCopy.sidebarNote} /></p>
-          This is the clean standalone version of the Kongsberg Jazz piece, separate from the
-          wider jazz desk.
-        </p>
       </aside>
     </section>
 
@@ -45,8 +77,8 @@ import LocaleCopy from "../../components/LocaleCopy.astro";
     <section class="container jazz-layout">
       <article class="panel jazz-article">
         <div class="capsule__kicker">
-          <span>Field report</span>
+          <span><LocaleCopy copy={pageCopy.fieldReport} /></span>
-          <span>Kongsberg x Paris</span>
+          <span><LocaleCopy copy={pageCopy.location} /></span>
         </div>
         {jazzBody.en.map((_, i) => (
           <p><LocaleCopy copy={{ en: jazzBody.en[i], fr: jazzBody.fr[i], nb: jazzBody.nb[i] }} /></p>
@@ -56,25 +88,19 @@ import LocaleCopy from "../../components/LocaleCopy.astro";
       <aside class="jazz-sidebar">
         <article class="panel jazz-sidebar__card">
           <div class="capsule__kicker">
-            <span>Also read</span>
+            <span><LocaleCopy copy={pageCopy.alsoRead} /></span>
-            <span>Jazz desk</span>
+            <span><LocaleCopy copy={pageCopy.jazzDesk} /></span>
           </div>
-          <p>
+          <p><LocaleCopy copy={pageCopy.crossPromo} /></p>
-            The wider jazz issue includes venue notes, free-show pointers, and the more
+          <a class="button button--dark" href="/jazz-music"><LocaleCopy copy={pageCopy.crossPromoCta} /></a>
-            magazine-like version of this piece.
-          </p>
-          <a class="button button--dark" href="/jazz-music">Open Jazz and Music</a>
         </article>
       </aside>
     </section>
 
     <section class="container source-block">
       <div class="section-header">
-        <div class="section-header__title">Source Credits</div>
+        <div class="section-header__title"><LocaleCopy copy={pageCopy.creditsTitle} /></div>
-        <div class="section-header__meta">
+        <div class="section-header__meta"><LocaleCopy copy={pageCopy.creditsMeta} /></div>
-          Festival details and venue framing are paraphrased from the official festival and venue
-          sites linked below.
-        </div>
       </div>
 
       <div class="source-list">

src/pages/business.astro

@@ -1,5 +1,23 @@
 ---
+import LocaleCopy from "../components/LocaleCopy.astro";
 import BaseLayout from "../layouts/BaseLayout.astro";
+
+const copy = {
+  kicker:   { en: "Latest dispatch",                   fr: "Dernière dépêche",                          nb: "Siste depeche" },
+  date:     { en: "May 2026",                          fr: "Mai 2026",                                  nb: "Mai 2026" },
+  title:    { en: "The Science of Imaginary Revenues", fr: "La Science des Revenus Imaginaires",        nb: "Vitenskapen om Imaginære Inntekter" },
+  subtitle: {
+    en: "A Field Study of the AI Valuation Ecosystem",
+    fr: "Une étude de terrain sur l'écosystème de valorisation de l'IA",
+    nb: "En feltstudie av AI-vurderingsøkosystemet",
+  },
+  body: {
+    en: "From inside the machine that builds the machines: a correspondent's notes on circular capital, NVIDIA's golden shovel, and the dot-com rhyme that the AI industry insists it is not repeating.",
+    fr: "De l'intérieur de la machine qui construit les machines : les notes d'un correspondant sur le capital circulaire, la pelle dorée de NVIDIA, et la rime dot-com que l'industrie de l'IA insiste à ne pas répéter.",
+    nb: "Fra innsiden av maskinen som bygger maskinene: en korrespondents notater om sirkulær kapital, NVIDIAs gylne spade, og dot-com-rimet som AI-industrien insisterer på ikke å gjenta.",
+  },
+  cta: { en: "Read the field report", fr: "Lire le rapport de terrain", nb: "Les feltrapporten" },
+};
 ---
 
 <BaseLayout
@@ -10,13 +28,13 @@ import BaseLayout from "../layouts/BaseLayout.astro";
     <section class="container jazz-layout" style="margin-bottom: 0; padding-bottom: 0;">
       <article class="panel jazz-article" style="margin-bottom: var(--space-md, 1.5rem);">
         <div class="capsule__kicker">
-          <span>Latest dispatch</span>
+          <span><LocaleCopy copy={copy.kicker} /></span>
-          <span>May 2026</span>
+          <span><LocaleCopy copy={copy.date} /></span>
         </div>
-        <h2 style="margin-top: 0.5rem;">The Science of Imaginary Revenues</h2>
+        <h2 style="margin-top: 0.5rem;"><LocaleCopy copy={copy.title} /></h2>
-        <p style="font-style: italic; margin-bottom: 0.75rem;">A Field Study of the AI Valuation Ecosystem</p>
+        <p style="font-style: italic; margin-bottom: 0.75rem;"><LocaleCopy copy={copy.subtitle} /></p>
-        <p>From inside the machine that builds the machines: a correspondent's notes on circular capital, NVIDIA's golden shovel, and the dot-com rhyme that the AI industry insists it is not repeating.</p>
+        <p><LocaleCopy copy={copy.body} /></p>
-        <a class="button button--dark" href="/articles/ai-bubble-2026/">Read the field report</a>
+        <a class="button button--dark" href="/articles/ai-bubble-2026/"><LocaleCopy copy={copy.cta} /></a>
       </article>
     </section>
   </main>

src/pages/education.astro

@@ -1,7 +1,45 @@
 ---
+import LocaleCopy from "../components/LocaleCopy.astro";
 import SchoolDossier from "../components/SchoolDossier.astro";
 import { schoolDossiers } from "../data/education";
 import BaseLayout from "../layouts/BaseLayout.astro";
+
+const copy = {
+  eyebrow: {
+    en: "Special issue / school dossiers",
+    fr: "Numéro spécial / dossiers écoles",
+    nb: "Spesialnummer / skoledossierer",
+  },
+  h1: {
+    en: "The schools, rewritten as a magazine of migration, trade, weather, and nerve.",
+    fr: "Les écoles, réécrites comme un magazine de migration, commerce, météo et courage.",
+    nb: "Skolene, omskrevet som et magasin om migrasjon, handel, vær og nerve.",
+  },
+  lede: {
+    en: "This issue treats each school as a chapter in style, place, and formation. The quotes are invented on purpose, signed in faux Boris or faux Vernon mode, and labeled so nobody mistakes the joke for scholarship.",
+    fr: "Ce numéro traite chaque école comme un chapitre de style, de lieu et de formation. Les citations sont inventées délibérément, signées en mode Boris ou Vernon apocryphes, et étiquetées pour qu'on ne prenne pas la blague pour de l'érudition.",
+    nb: "Dette nummeret behandler hver skole som et kapittel i stil, sted og formasjon. Sitatene er bevisst oppfunnet, signert i apokryf Boris- eller Vernon-stil, og merket så ingen tar spøken for kunnskap.",
+  },
+  editorialNote: { en: "Editorial note", fr: "Note éditoriale", nb: "Redaksjonell note" },
+  draft: { en: "Draft 1", fr: "Brouillon 1", nb: "Utkast 1" },
+  bullets: {
+    en: [
+      "All faux signatures are clearly marked as invented.",
+      "All images are openly licensed or used as contextual stand-ins with attribution.",
+      "Exact campus replacements can be swapped in once you approve or supply them.",
+    ],
+    fr: [
+      "Toutes les fausses signatures sont clairement marquées comme inventées.",
+      "Toutes les images sont sous licence libre ou utilisées comme illustrations contextuelles avec attribution.",
+      "Des photos exactes de campus peuvent être remplacées dès que vous les approuvez ou les fournissez.",
+    ],
+    nb: [
+      "Alle apokryfe signaturer er tydelig merket som oppfunnet.",
+      "Alle bilder er åpent lisensiert eller brukt som kontekstuelle plassholere med kreditering.",
+      "Eksakte campusbilder kan byttes ut når du godkjenner eller leverer dem.",
+    ],
+  },
+};
 ---
 
 <BaseLayout
@@ -11,24 +49,22 @@ import BaseLayout from "../layouts/BaseLayout.astro";
   <main class="education-page">
     <section class="education-hero container">
       <div class="education-hero__copy">
-        <span class="eyebrow">Special issue / school dossiers</span>
+        <span class="eyebrow"><LocaleCopy copy={copy.eyebrow} /></span>
-        <h1>The schools, rewritten as a magazine of migration, trade, weather, and nerve.</h1>
+        <h1><LocaleCopy copy={copy.h1} /></h1>
         <p class="education-hero__lede">
-          This issue treats each school as a chapter in style, place, and formation. The quotes
+          <LocaleCopy copy={copy.lede} />
-          are invented on purpose, signed in faux Boris or faux Vernon mode, and labeled so nobody
-          mistakes the joke for scholarship.
         </p>
       </div>
 
       <aside class="education-hero__note panel">
         <div class="capsule__kicker">
-          <span>Editorial note</span>
+          <span><LocaleCopy copy={copy.editorialNote} /></span>
-          <span>Draft 1</span>
+          <span><LocaleCopy copy={copy.draft} /></span>
         </div>
         <ul>
-          <li>All faux signatures are clearly marked as invented.</li>
+          {copy.bullets.en.map((_, i) => (
-          <li>All images are openly licensed or used as contextual stand-ins with attribution.</li>
+            <li><LocaleCopy copy={{ en: copy.bullets.en[i], fr: copy.bullets.fr[i], nb: copy.bullets.nb[i] }} /></li>
-          <li>Exact campus replacements can be swapped in once you approve or supply them.</li>
+          ))}
         </ul>
       </aside>
     </section>

src/pages/writing.astro

@@ -1,6 +1,24 @@
 ---
+import LocaleCopy from "../components/LocaleCopy.astro";
 import WritingIssue from "../components/WritingIssue.jsx";
 import BaseLayout from "../layouts/BaseLayout.astro";
+
+const copy = {
+  kicker:   { en: "Latest piece",       fr: "Dernier article",    nb: "Siste stykke" },
+  date:     { en: "May 2026",           fr: "Mai 2026",           nb: "Mai 2026" },
+  title:    { en: "L'Homme Impossible", fr: "L'Homme Impossible", nb: "L'Homme Impossible" },
+  subtitle: {
+    en: "A Guide to Boris Vian and the Collège de 'Pataphysique",
+    fr: "Un guide sur Boris Vian et le Collège de 'Pataphysique",
+    nb: "En guide til Boris Vian og Collège de 'Pataphysique",
+  },
+  body: {
+    en: "He was a trained engineer who played trumpet in a cellar with Miles Davis, wrote ten novels before his fortieth birthday, and became a Transcendent Satrap of an institution dedicated to deliberate uselessness.",
+    fr: "C'était un ingénieur de formation qui jouait de la trompette dans une cave avec Miles Davis, écrivit dix romans avant ses quarante ans, et devint Satrape Transcendant d'une institution dédiée à l'inutilité délibérée.",
+    nb: "Han var utdannet ingeniør som spilte trompet i en kjeller med Miles Davis, skrev ti romaner før han ble førti, og ble Transcendent Satrape i en institusjon viet til bevisst ubrukbarhet.",
+  },
+  cta: { en: "Read the introduction", fr: "Lire l'introduction", nb: "Les introduksjonen" },
+};
 ---
 
 <BaseLayout
@@ -11,13 +29,13 @@ import BaseLayout from "../layouts/BaseLayout.astro";
     <section class="container writing-feature" style="margin-bottom: 0; padding-bottom: 0;">
       <article class="panel jazz-article" style="margin-bottom: var(--space-md, 1.5rem);">
         <div class="capsule__kicker">
-          <span>Latest piece</span>
+          <span><LocaleCopy copy={copy.kicker} /></span>
-          <span>May 2026</span>
+          <span><LocaleCopy copy={copy.date} /></span>
         </div>
-        <h2 style="margin-top: 0.5rem;">L'Homme Impossible</h2>
+        <h2 style="margin-top: 0.5rem;"><LocaleCopy copy={copy.title} /></h2>
-        <p style="font-style: italic; margin-bottom: 0.75rem;">A Guide to Boris Vian and the Collège de 'Pataphysique</p>
+        <p style="font-style: italic; margin-bottom: 0.75rem;"><LocaleCopy copy={copy.subtitle} /></p>
-        <p>He was a trained engineer who played trumpet in a cellar with Miles Davis, wrote ten novels before his fortieth birthday, and became a Transcendent Satrap of an institution dedicated to deliberate uselessness.</p>
+        <p><LocaleCopy copy={copy.body} /></p>
-        <a class="button button--dark" href="/articles/boris-vian-2026/">Read the introduction</a>
+        <a class="button button--dark" href="/articles/boris-vian-2026/"><LocaleCopy copy={copy.cta} /></a>
       </article>
     </section>
     <WritingIssue client:load />

src/styles/global.css

@@ -5701,7 +5701,7 @@ code, pre, .mono {
   left: 0;
   right: 0;
   z-index: 9999;
-  height: 42px;
+  height: 46px;
   background: var(--burgundy);
   display: flex;
   align-items: center;
@@ -5724,10 +5724,10 @@ code, pre, .mono {
   color: rgba(246, 240, 225, 0.7);
   cursor: pointer;
   font-family: var(--font-mono);
-  font-size: 0.82rem;
+  font-size: 0.88rem;
   letter-spacing: 0.12em;
   text-transform: uppercase;
-  padding: 0.35rem 0.9rem;
+  padding: 0.4rem 1.1rem;
   border-radius: var(--radius-xs);
   transition: color var(--dur-fast) var(--ease-out),
               background var(--dur-fast) var(--ease-out);
@@ -5746,7 +5746,7 @@ code, pre, .mono {
 }
 
 .locale-bar__btn span {
-  font-size: 0.78rem;
+  font-size: 0.86rem;
 }
 
 .locale-bar__sep {