Piracy, for South Africa therefore, is an issue, which is placed within security, legal, law and order, development, humanitarian, and governance frameworks.
Whilst an importance is placed on the securitisation of the issue, namely the necessary need to address it via naval operations due to negative side-effects of international naval operations, this is balanced with its recognition that piracy is part of a larger problem that must be addressed via political stability in Somalia and the continent more generally.
Through its role in a variety of regional and international actors, South Africa recognises that piracy will only be solved via cooperation between nations and that piracy is a problem that must be solved as a matter of urgency. It seems however, that a contradiction lies between its desire to project itself as a force exporter, and its poor defence spending. As such and as expressed by government sentiments, piracy is a growing problem for the country and one that cannot be ignored.
Given economic constraints, however, South Africa must concentrate its efforts on co-operative measures which emphasise the projection of political stability in the region via good governance. Current estimates show that naval force is unsustainable without the necessary defence spending and thus South Africa must play to its strengths and seek longer-term solutions to the piracy problem, which is currently dominating its maritime security agenda.
Furthermore, the negative side effects of international efforts in Somali waters illustrate that current naval strategies are not working. South Africa must therefore, use its relative strength and influence in the area to push for longer-term political solutions to the Somalia question that has remained unanswered for decades.
It is only when the land-based root causes of piracy are addressed that positive effects will be seen on the reduction of pirate activity.
Furthermore, South Africa, and the international community more generally must realise the part that they have to play in the continued pirate action and work to address the local grievances in order to foster an environment where piracy is not a desirable option. At present talk is strong, but it appears action is weak and thus South Africa must follow-through on its pledges and continue to engage in co-operative action. However, with differing priorities, low naval spending and a poor economic environment, it seems unlikely that South Africa will ever match its tough rhetoric in the fight against piracy.
Burzan, B. Chasomeris, M. Gibson, J. Guiligoyle, D. Murphy, M. Onuoha, F. Rittel, Horst, W. Siko, M. Vogel, A. Wambua, P. Willett, L. Chilliers, J. Heitman, H. Hosken, G. Mbekeani, K. Mwangura, A. Ndebele, S. Resh, W. Sisulu, L. South Africa. Wingrin, D. So though formal restrictions of apartheid were lifted, the racial and economic geography of media access remained largely unchanged. While the end of Apartheid and economic sanctions in the mid s sparked a rapid increase of cultural goods in the country, high prices and an underdeveloped media retail sector encouraged the growth of grey- and black-market practices related to acquiring, copying and circulating media.
South Africa also became a consumer hot-spot and transit point for smuggling media into other African countries. Yet, despite the strong informal economy, claims of losses to piracy in South Africa were never high. The Department of Trade and Industry DTI is looking to develop a responsible trade policy, and has been pushing for stronger intellectual property and enforcement measures.
Anti-piracy discourse in South Africa revolves mainly around the impact of piracy on the South African creative industries and, especially, the livelihoods of South African musicians. A key assumption — unsubstantiated by research anywhere in the world — is that the sale of a pirated media product equals the loss of a legitimate sale and therefore a real loss of income for a South African artists.
The anti-piracy movement has gained momentum through a stronger police presence and tighter enforcement. They often use the term "copyleft" as the opposite of copyright. The developers leave it up to you to decide whether it is worthwhile contributing to the cost of developing the software. If you like the software and use it regularly, they encourage you to pay a registration fee. This gives the developers an income from the product which allows them to continue developing it or creating new software.
Act responsibly and don't pirate software, games, movies or music. UCT respects copyright. Tel: icts-helpdesk uct. Log a Call. The original producer's trademarks and logos are often reproduced in order to mislead the consumer into believing that they are buying a legitimate product. It is unauthorised recordings of live or broadcast performances. They are duplicated and sold - often at a premium price - without the permission of the artist, composer or record company.
Artists and the record companies who support them loose an estimated R million each year to piracy. Simple piracy as referred to by the IFPI, is music which has been pirated, meaning that it has been copied duplicated from a legitimate or pirated copy, usually by computer or obtained elsewhere without the consent of the rights holder.
There are several elements common to most pirated product of this kind. For one the packaging of pirated product differs from the original. Pirated copies are often compilations - for example, purporting to be the "greatest hits" of a specific artist, or a collection of tracks drawn from a specific genre, such as dance music. Frequently although not always these kinds of albums were never published or released by the rights holders. The main feature of pirated music is the fact that on face value it doesn't look the same as the original although all sound recordings on the pirated cassette or disc are usually from a previously released legitimate album.
The artist performing the music and the name of the album may be handwritten on the inlay or printed thereon with a computer. The artist performing the music and the name of the album will be handwritten on the label side of the disc or printed on a label which is then affixed to the disc. Please note that in some cases music CD's and DVD's of young and upcoming artists may bear some of these features.
Counterfeit copies of music are copied the inlay and the disc and packaged to resemble the legitimate copy original as closely as possible. The original producer's trademarks and logos are often reproduced in order to mislead the consumer into believing that they are buying a legitimate product, for instance, the latest Zola album.
Counterfeit copies were in the past replicated the music in the form of lands and pits pressed into the plastic in mass quantities in rogue manufacturing plants in the East. Today, as CD and DVD writers are so cheap, they are duplicated recorded by means of a computer or stack burners locally.
The same applies to the printing on the inlay and disc. The difference between pirated music and counterfeits lies in the way it is presented to the public.
If the label of the disc or inlay is made to resemble the original as close as possible and thereby deceive the public, it is a counterfeit copy. Usually therefore the inlay is made to resemble the original as the inlay is usually what is first observed by the public and not the disc.
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