Academic literature on the topic 'Installations (Art) – South Africa'
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Journal articles on the topic "Installations (Art) – South Africa"
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Baderoon, Gabeba. "The Ghost in the House: Women, Race, and Domesticity in South Africa." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (2014): 173–88. http://dx.doi.org/10.1017/pli.2014.17.
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AbstractIn South Africa, the house is a haunted place. Apartheid’s separate publics also required separate private lives and separate leisures in which to practice ways of living apartheid’s ideological partitions into reality. This essay analyzes the compulsive interest in black domesticity that has characterized South Africa since the colonial period and shows that domestic labor in white homes has historically shaped the entry of black women into public space in South Africa. In fact, so strong is the latter association that theDictionary of South African English on Historical Principlesreveals that in South African English the wordmaiddenotes both “black woman” and “servant.” This conflation has generated fraught relations of domesticity, race, and subjectivity in South Africa. Contemporary art about domestic labor by Zanele Muholi and Mary Sibande engages with this history. In their art, the house is a place of silences, ghosts, and secrets. Precursors to these recent works can be found in fiction, including Sindiwe Magona’s short stories about domestic workers in her collectionLiving, Loving and Lying Awake at Night(1994) and Zoë Wicomb’s novelPlaying in the Light(2006), in which a woman passing for white allows her mother into her house only under the pretense that she is a family servant. Muholi and Sibande have engaged the legacy of black women in white households by revisiting the ghosts of the house through performance, sculpture, and photography. Both were inspired by the intimate reality of their mothers’ experiences as domestic servants, and in both cases the artist’s body is central to the pieces, through installations based on body casts, performance, embodied memories, and the themes of haunted absences, abandonment, and longing.
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Young, Allison K. ""We Never Did Return": Migration, Materiality and Time in Penny Siopis' Post-Apartheid Art." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 45–70. http://dx.doi.org/10.5195/contemp.2015.131.
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This article explores “migration” as both theme and operation in two works by the South African artist Penny Siopis, each created in the year 1997: the artist’s first film, My Lovely Day, and a related object installation entitled Reconnaissance (1900-1997). In each work, Siopis traces the course of her grandmother’s emigration from Europe to Africa through a variety of found, collected, or inherited components that bore witness to the longue durée of imperialism and Apartheid. Mediating between national, cultural, and familial narratives, these works are inherently archaeological in nature, and allowed viewers at the time to reflect on the multiple entangled histories that comprised the post-Apartheid condition. The late nineties in South Africa were defined by the conclusion of Apartheid, the Truth and Reconciliation Commission, and two major biennale exhibitions of contemporary art. The decade thusly saw a stream of collective efforts to both unearth the past and envision the future, marking a time of great cultural, artistic, political, and discursive transition. Mapping questions of medium-specificity and affect over this larger context, I investigate Siopis’ use and manipulation of historical traces as well as notions of contemporaneity and temporality in her art.
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Raubenheimer, Jenny. "Enhancing resource sharing with a state-of-the-art transportation system in a large open distance learning (ODL) institution in South Africa." Interlending & Document Supply 42, no. 2/3 (2014): 125–30. http://dx.doi.org/10.1108/ilds-05-2014-0026.
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Purpose – The purpose of the paper is to investigate the enhancement of resource sharing with a state-of-the-art transportation system in a large open distance learning (ODL) institution in South Africa. The University of South Africa (UNISA) is an ODL institution, and it has the largest academic library of its kind in Africa. The University is acknowledged as one of the mega-universities of the world with a student body approaching 400 000. In addition to providing an inter-lending service to this large student body and to 3,000 staff, the UNISA Library is a net-lender within South Africa’s inter-lending and resource sharing network. The Library’s inter-lending service forms part of the request services available to all its clients and to the wider community of participating libraries. Daily, an average of 2000 requests is received for processing, retrieval and delivery. This paper provides a brief overview of how the Library’s request service is managed and will discuss the technologies used to speed up the request process. It focuses on an automated radio frequency identification (RFID) transportation system to be implemented as part of the 21st century, newly redesigned UNISA Library. To ensure the speedy availability of material on the shelves after return, this system automatically transports materials via a Paternoster book lift to the respective levels within the Library. Design/methodology/approach – The methodology used in this investigation encompassed a literature study and a study visit to a library where this automated delivery system had been implemented and information was gained from relevant service suppliers. Findings – The UNISA Library found that it is feasible to use the system in terms of the large number of books to be transported from drop-off points to the respective levels. In accordance with the investigation of the number of trolleys to be pushed daily by staff from one point to another, the installation of an automated system will allow more time for shelf maintenance staff to attend to the processing of requests for material and other important but less urgent duties. This will impact positively on the speed of delivery of requests submitted by ODL clients who cannot visit the libraries together with those submitted by local and international inter-library loan partners who depend on the UNISA Library as a net-lender for material not available in their own collections. This will impact positively on availability of material on the shelves and the speed of delivery of requests for information resources submitted by ODL clients who cannot visit the ODL libraries and inter-library loan partners, nationally and internationally, who depend on the UNISA Library as a net-lender for material not available in their own collections. Originality/value – Because rapid delivery of requested information resources has become very important to ensure just in time information, it is important to implement an internal delivery system to support the inter-lending process. This study is useful for libraries that need to deliver many physical items to a large client body.
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Du Preez, Amanda. "Art South Africa." Tydskrif vir Letterkunde 43, no. 1 (2018): 193–94. http://dx.doi.org/10.4314/tvl.v43i1.29731.
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Picton, John. "Art from South Africa." African Arts 24, no. 3 (1991): 83. http://dx.doi.org/10.2307/3336929.
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Bester, Valerie. "Art Awards in South Africa." de arte 34, no. 60 (1999): 2. http://dx.doi.org/10.1080/00043389.1999.11761291.
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Brown, Mercadies. "The Human Zoo: A Critique of Brett Bailey’s Exhibit B." Digital Literature Review 2 (January 13, 2015): 106–13. http://dx.doi.org/10.33043/dlr.2.0.106-113.
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This essay examines Exhibit B, a controversial art installation by South African artist Brett Bailey in which actors portray historical scenes of colonialism and slavery. Exhibit B is meant to spread awareness of the widely popular human zoos of the past. Brown’s essay investigates whether or not recreating scenes of slavery does more harm than good.
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Marschall, Sabine. "Art in South Africa: ‘redress’ through terminology." de arte 36, no. 64 (2001): 63–74. http://dx.doi.org/10.1080/00043389.2001.11876982.
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Rankin, Elizabeth. "The Art of Life in South Africa." de arte 52, no. 2-3 (2017): 129–33. http://dx.doi.org/10.1080/00043389.2017.1403077.
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Solomon, Gillian. "Development of Art Therapy in South Africa." Canadian Art Therapy Association Journal 19, no. 1 (2006): 17–32. http://dx.doi.org/10.1080/08322473.2006.11432281.
Full textDissertations / Theses on the topic "Installations (Art) – South Africa"
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Matindike, Tashinga. "14 ways to remember Nzira gumi nena dzekuyeuka : exploring and preserving memories." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8272.
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Includes abstract.<br>Includes bibliographical references (p. 105-107).<br>My project is one of memorialisation, expressed as a creative process. A core theme throughout my work concerns the notions of absence and presence, as the project is founded on a personal loss and inspired by a desire to sustain the memories of my late brother. My investigation involves the exploration and preservation of the memories of my brother. The body of work manifests as the residue of my reflections on grief and memory that I have chosen to exhibit in a commemorative manner. In turn, my practice has functioned as a source of comfort in the course of my mourning.
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Van, Heerden Peter. "Trek : hitchhiking on the ox-wagon of destiny : voortrekker, draadtrekker, saamtrekker." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/15431.
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Includes bibliographical references (p. 61-64).<br>As a South African artist I am in power to influence some manner of change, through my art, to the structure of national thought and hence national identity. Through my live art installation TOTANDERKUNTUlT, I offered South Africans the opportunity to engage in the cathartic process of resolution and reconciliation through dialogue. The aim of this dialogue is to engender a new method of practice for a non-racialised approach to the development of an integrated cultural identity that South Africans can work towards. I am not proclaiming to have this identity defined. I am positing saamtrekking as a method of practice for an identity that can be practiced by all race, colours and creeds of South Africans. Saamtrekking is a coming together, it is the acknowledged acceptance of some manner of change towards transformation. It requires acknowledgement in order to be practiced, the subject must practice acts of transformative behaviour in order to transform.
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Tryon, Denzil Jordan. "Hermeneutics and memory in selected works by Willem Boshoff." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1004453.
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From Introduction: Willem Boshoff was born in Vereeniging, South Africa, in 1951. The son of a carpenter, Boshoff developed an early interest in art. Although never taught formally by his father, he nevertheless acquired a knowledge of the craft of carpentry, a skill which he continues to utilize in much of his art-making today. Boshoff studied at the Johannesburg College of Art, and obtained a Master's Diploma in Technology in Fine Art in 1984. He taught at that institution for twelve years, becoming a full-time art practitioner in 1996. He produced some significant works prior to and during the time of his teaching tenure, including his KykAfrikaans visual poetry in 1979-1980, Bangboek between 1977-1986, and the researching and writing of the Dictionary of Perplexing English in 1986 (ending in 1999). In this study I will discuss Willem Boshoff's careful employment of language and materials, througb which he propagates his "study of ignorance" (Williamson and Jamal 1996:148). I will investigate two major works by Boshoff, namely The Writing in the Sand and The Blind Alphabet in Chapters 1 and 2 respectively. Both of these installations are concerned fundamentally with the subversion of power relationships and elitism. As I will show, both works offer an opportunity to investigate their objectives in relation to discourses surrounding language and hermeneutics. My study includes a third chapter, in which I discuss my own work entitled The Bread of the Presence in relation to Boshoff's own methodologies. As will be demonstrated with particular reference to The Blind Alphabet and my own work, a discussion of memory proves to be of some relevance within this dialogue.
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Van, Wyk Josly. "A practice-led exploration of the aesthetics of household waste in selected South African visual artworks." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60437.
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In this practice-led exploration, I investigate the aesthetic potential of household waste. With household waste as the object of investigation, I explore the cultural signification of waste in terms of the role it plays in art practice. I look into the found object, bricoleur culture and the sculptural process of assemblage. By considering how assemblage allows for the inclusion of waste materials, the lowly status of household waste leads my art practice to a do-it-yourself approach. This approach of incorporating waste materials into artworks shifts the focus from the physical state to the conceptual meaning of waste. The shift that occurs when the waste object is displaced into art is central to this research study, owing to the capacity of these objects to connote meaning. I refer to this capacity as the social agency of waste materials. My investigation pertains to how art practice may alter or enhance the meaning of household waste. The physical cycle of waste, the constant change in use value that is promoted by consumer society and the process of conceptual adaptation instil a nomadic quality in household waste. I view the nomadic quality of waste as a means to activate viewer participation.
I investigate, in particular case studies, how the interrelationship of installation art, site-specificity and community-based art may contribute to an experiential mode of viewing. I apply the lens of phenomenology and contemporary environmental aesthetics to interpret how viewers engage with art installations. My investigation of confrontational art installations has informed the approach of my own creative research. To convey the nomadic quality of waste, I have developed a series of quasi-functional sculptural artworks that act as mechanical modes of movement to signify an industrial influence of consumerism. Through community art practice as an interrelated field of research, the community members of Rietondale, particularly the school learners from workshops I presented, influenced my approach to my own art practice as I had sought to influence theirs. This mini-dissertation serves as a reflection on the coinciding thought process, material journey and collaborative initiative of a practice-led exploration of the aesthetics of household waste.<br>Dissertation (MA)--University of Pretoria, 2016.<br>Visual Arts<br>MA<br>Unrestricted
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Lochner, Eben. "The democratisation of art CAP as an alternative art space in South Africa." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002205.
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While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003). CAP and other art centres have played an indispensable role in the establishment of black artists and in producing a locally reflective artistic practice in South Africa, even into the 21st century. Through researching the changes the organisation underwent between the 1980s and 1990s, the ways in which such art centres constantly need to respond to the changing sociopolitical landscape around them become clear. Within South Africa these centres were seen to play a significant part in the liberation struggle and then later in nation building. While these centres were well supported by foreign donors in the late 1980s, such funding was withdrawn in 1991 and the majority of art centres collapsed, illustrating to some degree that the training of artist was not valued outside the context of the struggle against apartheid. By interviewing key people and by reading documentation stored at the Manuscripts and Archives department of UCT I have discovered some of the different benefits and hindrances of working in community art centres both during and after Apartheid. This thesis argues that these centres still play a vital role in contributing to the development of South Africa's local art practice and should not be relegated to the sideline.
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Viljoen, Vida Alexandra. "Socio-spatialities of visual art in Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96804.
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Thesis (MA)--Stellenbosch University, 2015.<br>ENGLISH ABSTRACT: The social and spatial dimensions of any settlement are widely recognised in the international literature as having been shaped notably by art in some of the so-called cities of art or culture, such as Florence, Venice and other, smaller cultural nodes around the world. Arts resources have an impact on the socio-spatial dimension of a locale in a multitude of ways, and an understanding thereof can be hugely beneficial to a town‟s development and success. When developed, utilised and protected correctly, the full positive effects of such resources can be achieved to stimulate an inclusive and diverse art town setting. The Western Cape town of Stellenbosch is reputed for its rich arts and cultural heritage, yet there has not been extensive academic research concerning the incidence and effects thereof. Hence, Stellenbosch provides a platform from which to study the socio-spatial influence that visual art brings about in the interplay between art, people and space. Enhanced planning and decision making can then be undertaken for the current and future protection and management of art resources, equipping Stellenbosch to be part of a world that is both a competitive global market and diverse sphere of social constructs and discourses.
The exploration of notions such as commoditisation, the places and spaces of art, formal and informal public art, artwork defacement, and the sense of place brought about by the art in Stellenbosch to obtain an overarching impression of the nature and extent of the influences of art on the socio-spatial dimension was the primary aim of this study. A descriptive overview of the socio-spatialities brought about by art in the so-called art town of Stellenbosch is provided by utilising in-depth interviews in combination with a minor GIS component. This enables an overall view of the public perception of art in Stellenbosch, as well as a visual overview of the distribution of the available art resources, hence providing new attribute and spatial data that can inform future initiatives in the town.<br>AFRIKAANSE OPSOMMING: In die internasionale literatuur word die sosiale en ruimtelike dimensies van ‟n nedersetting wyd erken as deur kuns gevorm te wees in sommige sogenaamde stede van kuns of kultuur, soos Florence of Venesië, en ander, kleiner kulturele nodes regoor die wêreld. Kunsbronne het op ‟n magdom van maniere ‟n impak op die sosio-ruimtelike dimensie van ‟n land, en ‟n begrip daarvan is uiters voordelig vir ‟n dorp se ontwikkeling en sukses. Wanneer dié bronne toepaslik ontwikkel, benut en beskerm word, kan die volle positiewe uitwerking daarvan bereik word om ‟n inklusiewe en diverse kunsdorpomgewing te stimuleer. Die Wes-Kaapse dorp Stellenbosch is bekend vir sy ryk kuns- en kulturele erfenis, maar uitgebreide akademiese navorsing oor die voorkoms en gevolge daarvan is nog nie onderneem nie. Stellenbosch bied dus ‟n platform waarop die sosio-ruimtelike invloed van visuele kuns in die wisselwerking tussen kuns, mense en die ruimte bestudeer kan word. Verbeterde beplanning en besluitneming kan dan gedoen word vir die huidige en toekomstige beskerming en bestuur van kunsbronne, wat Stellenbosch sal toerus vir ‟n wêreld wat beide ‟n kompeterende globale mark en diverse terrein van sosiale konstrukte en diskoerse is.
Die ondersoek van begrippe soos kommodifikasie, die plekke en ruimtes van kuns, formele en informele openbare kuns, kunswerkskending, en sin van plek wat deur die kuns in Stellenbosch teweeg gebring word, verskaf ‟n oorkoepelende indruk van die aard en omvang van die invloede van kuns op die sosio-ruimtelike dimensie, wat die primêre doel van hierdie studie was. ‟n Beskrywende oorsig van die sosio-ruimtelikheid wat deur kuns in die sogenaamde kunsdorp Stellenbosch teweeg gebring word, is verskaf deur gebruik te maak van in-diepte onderhoude in kombinasie met ‟n kleiner GIS-komponent. Dit lewer ‟n geheelbeeld van die openbare persepsie van kuns op Stellenbosch, sowel as ‟n visuele oorsig van die verspreiding van die kunsbronne wat beskikbaar is, wat dus nuwe attribuut- en ruimtelike data verskaf wat toekomstige inisiatiewe op die dorp kan inlig.
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Cosser, Marijke. "Images of a changing frontier worldview in Eastern Cape art from Bushman rock art to 1875." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002196.
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A discussion of the concept of worldview shows that how an artist conceives the world in his images is governed by his worldview - an amalgam of the worldview of the group of which he is a part modified by his own ideas, beliefs, attitudes, perceptions and upbringing. The author proposes that studying an artist's work can reveal his, and hence his group's, worldview and thus the attitudes prevalent when the work was produced. A brief historical sketch of the Eastern Cape to 1834 introduces the various settlers in the area. Though no known examples of Black, Boer or Khoi pictorial art are extant, both the Bushmen and the British left such records. A short analysis of rock art shows how the worldview of the Bushman is inherent in their images which reflect man's world as seen with the "inner" eye of the spirit. In white settler art, the author submits that spatial relationships changed in response to a growing confidence as the "savage" land was "civilised" and that the position, pose and size of figures - and the inclusion or exclusion of certain groups - reflect socio-political changes. The two foremost nineteenth-century Eastern Cape artists, Thomas Baines and Frederick I'Ons, succeeded in capturing the atmosphere of Frontier life but are shown to interpret their surroundings through the rose-tinted spectacles of British Romanticism. They also reveal individuality in approach - Baines preferring expansive views while I'Ons's landscapes tend to be "closed-in", strictly following the coulisse scheme of Picturesque painting. Perhaps, the author postulates, such differences result from the very different environments, i.e. Norfolk and London, in which the two grew up. I'Ons is shown typically to use generalised landscapes as backdrops for his foreground figures, while comparing Baines's scenes with modern photographs shows that he adjusted the spacial elements of the topography as well as the temporal sequence of events to suit aesthetic considerations. Lithographed reports of his work contain even further adjustments. The author concludes that the use of Africana art as historical records must be treated with great caution.
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Bezuidenhout, Vincent. "Separate amenities : topographics of recreational spaces in South Africa." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10152.
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The body of photographs discussed in this document examine the way in which the landscape was constructed to enforce separation, in the form of separate amenities, during the time of apartheid in South Africa. This project is situated within the context of a long history of representation of the landscape, but I will position my practise within the more recent political history of apartheid during which separate amenities were created. Referring to David Goldblatt's interpretation of structures with regards to his representation of the South African landscape I will examine both the political and structural history of these locations.
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Boezaart, Kim. "Contemporary avant-garde jewellery in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51665.
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Thesis (MA)--University of Stellenbosch, 2000.<br>ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde
jewellery with specific reference to contemporary South African (neoavant-
garde) jewellery.
In Chapter One defensible working descriptions of the terms "avant-garde"
and "neo-avant-garde" are established in order to establish some
manageable conclusions regarding their application to jewellery design.
These descriptions are derived from a consideration of the concepts in
contemporary aesthetic discourse.
Chapter Two considers the role, justifications and implications of
adornment with a view to isolating the development, influences and nature
of neo-avant-garde jewellery. A distinction is drawn between the
aesthetics, ontology and art-relevant status of such jewellery and
commercial or mainstream jewellery.
Chapter Three analyses specific examples of contemporary South African
avant-garde jewellery in the light of the above-mentioned distinctions.
Works are considered in relation to the transgression of material, the
transgression of taste, the transgression of integrity of form and the
integration of narrative and parochial content and attempts to demonstrate
that an appropriate critical posture in regard to such jewellery is art, rather
than craft-relevant.
In Chapter Four general influences regarding themes and concepts
apparent in the author's body of practical work are discussed. An
annotated catalogue supplements the general discussion.<br>AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA
Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant-
garde juweliersware, met spesifieke verwysing na kontemporêre
Suid-Afrikaanse neo-avant-garde juweliersware.
In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde"
beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en
definisies van hierdie terme (met betrekking op kontemporêre estetika)
vas te lê.
Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van
fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde
juweliersware word bespreek en gekontrasteer met komersiêle
jeweliersware.
In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na
spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde
juweliersware. Hierdie voorbeelde word oorweeg in terme van hul
oorskryding van tradisionele grense aangaande materiaalgebruik, smaak,
integriteit van vorm en die integrasie van relaas. Die studie poog om die
relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt
te demonstreer.
In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel
van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n
bespreking van invloede, temas en konsepte van die deurlopende
ooreenkomste in die outeur se werke verduidelik.
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Cowley, Kerstin. "An investigation into outsider sculpture with special reference to D.C. van der Mescht." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1010608.
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It was both by luck and by accident that Dirk Charley van der Mescht's creations were discovered as a topic for research ... a recluse who lived out in what seemed to be the middle of nowhere. It was said of this man that he was a strange person who produced even stranger works. On investigation it was discovered that he was an Outsider sculptor by the name of D. C. van der Mescht. He and his family live at a small railway siding, known as Zuney, eighteen kilometres west of Alexandria. Isolated, uneducated and untutored, he had created an environment of sculptures for no apparent reason at all. The only explanation he appeared to be able to offer is that: he just does it. Intro. p. 1.
Books on the topic "Installations (Art) – South Africa"
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Hassan, Kay. Kay Hassan: DaimlerChrysler Award for South African Contemporary Art 2000. Hatje Cantz, 2000.
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Catholic Institute for International Relations., ed. Resistance art in South Africa. CIIR, 1989.
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Catholic Institute for International Relations., ed. Resistance art in South Africa. Catholic Institute for International Relations, 1990.
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Bufacchi, Jasna Aleksander. An optimist in South Africa. Aleksander Bufacchi Guerandi Zambetti, 1988.
Find full textBook chapters on the topic "Installations (Art) – South Africa"
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Virasamy, Nadia. "Moving into Dance in South Africa." In Art in Social Work Practice. Routledge, 2018. http://dx.doi.org/10.4324/9781315144245-23.
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de Beer, Marie-Lena Windt, and Gregory Michael Tinney. "South Africa: A Laboratory Perspective on Quality Control." In Quality Management in ART Clinics. Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-7139-5_13.
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Oloruntoba, Albert O. "Theatre and Human Rights in Africa: Historical and Literary Representations in South Africa." In The Art of Human Rights. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-30102-6_9.
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Ndlovu, Ndukuyakhe. "uKhahlamba-Drakensberg Park (South Africa), Rock Art At." In Encyclopedia of Global Archaeology. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-51726-1_2833-1.
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Duffey, Alexander E. "Art History in South Africa: Past and Present." In Memory & Oblivion. Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_14.
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Ndlovu, Ndukuyakhe. "uKhahlamba-Drakensberg Park (South Africa), Rock Art at." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2833.
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Hlongwane, Ali Khangela, and Sifiso Mxolisi Ndlovu. "Workers’ History in the Post-Apartheid Memory/Heritage Complex: Public Art and the Workers’ Museum in Johannesburg." In Public History and Culture in South Africa. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14749-5_2.
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Hlongwane, Ali Khangela, and Sifiso Mxolisi Ndlovu. "Weaving Stories, Memories, Public History, Visual Art and Place: The 16 June 1976 Interpretation Centre, Central Western Jabavu, Soweto." In Public History and Culture in South Africa. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14749-5_5.
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Berman, Hayley, and Nataly Woollett. "Art Therapy's Contribution to Alleviating the HIV Burden in South Africa." In The International Handbook of Art Therapy in Palliative and Bereavement Care. Routledge, 2019. http://dx.doi.org/10.4324/9781315110530-38.
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Sachs, Albie. "Art and Human Rights in the Constitutional Court of South Africa." In Visual Imagery and Human Rights Practice. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75987-6_12.
Full textConference papers on the topic "Installations (Art) – South Africa"
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Di Bella, Francis A., and Jonathan Gwiazda. "A New Concept for a Thermal Air Power Tube Used With Concentrated Solar Energy Power Generation in Open-Pit Mines and Large Natural Geo-Physical Phenomenon." In International Joint Power Generation Conference collocated with TurboExpo 2003. ASMEDC, 2003. http://dx.doi.org/10.1115/ijpgc2003-40071.
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This paper reviews a novel power generation system that improves the overall efficiency of concentrated solar energy systems while also providing for the cost effective reclamation and utilization of a man-made geo-physical phenomenon: decommissioned, open pit mines. A preliminary feasibility will be presented of an integrated system consisting of a concentrated solar energy powered Rankine Cycle system and the authors’ novel (patent pending) energy recovery system that consists of a thermally induced, pneumatic (wind turbine) power tube system (Pneumatic Power Tube) that is designed with reflective surfaces for concentrating solar energy. The proposed system is unique in the field of power generation using renewable/natural resources while also providing a solution to the reclamation and utilization of depleted open pit mines. The paper presents a parametric feasibility study of the proposed system installed for a range of “small” and “large” open-pit mines, such as the Palabora copper open pit mine located in South Africa. Using state-of-the-art specifications for power generation from concentrated solar energy systems based on D.O.E. supported research, a average size integrated installations could generate approx. 700–750 Mwe with 12–18 Mwe contributed by the new Pneumatic Power Pit Tubes. The enhancements include a unique design for a pneumatic power tube that combines the functions of solar collector/reflector with a hot air “chimney” air diffuser and wind power generation. A schematic of the proposed integrated system is also provided. The paper also presents a summary of the major technical benefits of the proposed system including the synergisms between the proposed renewable energy system and the application of DOE’s microwave power generation and transmission as well as the societal benefits of reclaiming land areas that are otherwise not suitable for habitation. Suggestions will also be made as to the application of authors’ pneumatic wind turbine power tubes to other large, naturally occurring geo-physical phenomenon.
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Hollingworth, D. "High Speed Photography And Photonics An Overview Of The State Of The Art In South Africa." In 17th Int'l Conference on High Speed Photography and Photonics, edited by Donald Hollingworth and Maurice W. McDowell. SPIE, 1987. http://dx.doi.org/10.1117/12.975537.
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Ngxande, Mkhuseli, Jules-Raymond Tapamo, and Michael Burke. "Driver drowsiness detection using behavioral measures and machine learning techniques: A review of state-of-art techniques." In 2017 Pattern Recognition Association of South Africa and Robotics and Mechatronics (PRASA-RobMech). IEEE, 2017. http://dx.doi.org/10.1109/robomech.2017.8261140.
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Messerle, V. E., A. B. Ustimenko, N. A. Slavinskaya, and U. Riedel. "Influence of Coal Rank on the Process of Plasma Aided Gasification." In ASME Turbo Expo 2012: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/gt2012-68701.
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This paper describes numerical and experimental investigations of coal gasification in a combined arc-plasma entrained flow gasifier. The experimental installation is intended to operate in the electric power range of 30–100 kW, mass averaged temperature 1800–4000 K, coal dust consumption 3–10 kg·h−1 and gas-oxidant flow 0.5–15 kg·h−1. The numerical experiments were conducted using the PLASMA-COAL computer code. It was designed for computation of the processes in plasma gasifiers. This code is based on a one-dimensional model, which describes the two-phase chemically reacting flow with an internal plasma source. The thermo-chemical conversion of the oxidizer-coal mixture is described through formation of primary volatile products, their conversion in the gas phase and the coke residue gasification reactions. Kazakhstan Ekibastuz bituminous coal of 40% ash content, Germany Saarland bituminous coal of 10.5% ash content and 14% ash content bituminous coal from the Middleburg opencast mines, South Africa, were used for the investigation. Performed investigations demonstrate that regardless of the coal quality the plasma assisted coal gasification allows obtaining a pure synthesis gas at a ratio of H2:CO≥1.
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Colomban, Philippe, Linda C. Prinsloo, Aurélie Tournié, P. M. Champion, and L. D. Ziegler. "On-site Raman Analysis Of Cultural Heritage Sites: The Stained Glass Windows Of The Sainte-Chapelle (Paris) And San Rock Art (South Africa)." In XXII INTERNATIONAL CONFERENCE ON RAMAN SPECTROSCOPY. AIP, 2010. http://dx.doi.org/10.1063/1.3482487.
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Na, Jeong Heon, In Hye Lee, Woo Seung Sim, and Hyun Soo Shin. "Full Stochastic Fatigue Analysis for Kizomba ‘A’ FPSO-Hull Interface Design." In ASME 2003 22nd International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2003. http://dx.doi.org/10.1115/omae2003-37093.
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As the offshore oilfields shift into the deeper ocean of less infra, FPSOs become a popular solution. Many FPSOs operate in fields where they are expected to stay for decades without drydocking for maintenance. Currently one of the most active area of the FPSO installation is the west Africa offshore where the sea state is benign and the swell from the south is dominant and the water depth is deep. In the case of long operation in the benign site, the fatigue is rather important in the structural design point of view. This paper describes the first extensive practical application of the full stochastic fatigue analysis method to the design of the FPSO-hull interface design like topside supports, flare tower foundation, riser porches, caissons, crane pedestals, mooring foundations, helideck connections, deck penetrations and etc. Especially, topside support is highlighted in detail because of its potential inertia loading due to heavy weight and importance in fabrication stage. The full length of Kizomba ‘A’ FPSO being built in Hyundai Heavy Industries is modeled for the global analysis and the boundary conditions from the global model analysis are transferred for the local model analysis. Some discussions of screening analysis and hot spot stress calculation and roll damping evaluation are also presented.
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Makgopa, B. M., M. Belal, and W. J. Strydom. "Neutronic Characterization of the SAFARI-1 Material Testing Reactor." In Fourth International Topical Meeting on High Temperature Reactor Technology. ASMEDC, 2008. http://dx.doi.org/10.1115/htr2008-58155.
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This work presents a neutronic analysis of the core in the South African Fundamental Atomic Research Installation (SAFARI-1) for future Pebble Bed Modular Reactor (PBMR) fuel irradiation experiments. Monte Carlo simulation of the core with and without the rig has been performed. The results show a negligibly small reactivity worth of the rig, which is expected, due to the small amount of heavy metal loading in the pebble and the low fuel enrichment. This effect will be further investigated when the rig is extended to include more than one fuel pebble. Results further show perturbations in the neutron and photon flux as well as the power distribution in core position B6. A 50% thermal neutron flux depression is observed in position B6 due to the insertion of the rig. A 60% increase in axial photon heating values is also observed in position B6. The neutron and photon flux and power distributions in the other incore irradiation positions (D6 and F6) are slightly affected by the insertion of this rig. Fluxes and power distributions in positions D6 and F6 will be studied in detail when they are loaded with isotope production rigs.
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Pedreirinho, José Manuel, Michel Toussaint, and Pancho Guedes. "The Porteguese Perspective." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.4.
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ose Manuel Pedreirinho was born and educated in Lisbon, and has operated his own practice there since 1984. In addition to teaching the history of modern architecture and the theory of architecture at the universities of Lisbon, Coimbra, and Porto, Prof: Pedreirinho is also completing a PhD at the University of Bath (UK). The author of several articles and two books on Portuguese architecture and the teaching process, Prof: Pedreirinho is currently preparing a guide on the architecture of Porto. Michel Toussaint is an architect and educator in Lisbon, where he teaches the theory of architecture at the Universidade Tecnica de Lisboa and the Universidade Lusiada. Prof: Toussaint has published several essays, articles, and books on architectural topics, and has practiced in Portugal, Angola, and Macau. Pancho Guedes is an architect currently working in Lisbon ajler an extensive career in Mozambique and South Africa. A graduate of the University of Witwatersrand (South Africa), Prof: Guedes’ work is noted for it sculptural and expressionistic quality, influenced heavily by African art and the work of Gaudi. In addition to his academic career in Lisbon, Prof: Guedes has also taught at the Architectural Association in London. [Editor’s note: The text of these presentations was not available at the time of publication.]
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Nthejane, Lebogang. "REFLECTIVE OBSERVATIONS ON THE DESIGN AND STUDIO ART PROGRAMME AT A UNIVERSITY OF TECHNOLOGY." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end047.
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The Central University of Technology (CUT) in South Africa compels that all programmes without a Mathematics module to offer Numeracy to first-year students. Initially, the Department of Mathematical and Physical Sciences at CUT was requested to facilitate this module from 2014 within the first semester. However, Numeracy was offered in a general manner without considering the applicability to the Design and Studio Art programme. The aim of this study was to revise the current curriculum and modify it to be applicable to the Design and Studio Art programme. Thus, the objectives of this study were firstly, to identify the gap in the current curriculum, which related to mathematical concepts within the Numeracy module which seemed to be not applicable to this programme. Secondly, to identify the mathematical concepts within the Numeracy module that could possibly be applicable to this Programme and modify them, accordingly. These concepts were identified as geometry, ratios and proportions, scale drawings, grid system, units and conversions. The final objective of this study related to the teaching of these concepts into the programme. The purpose of this paper report on the reflective observations on the revision and modification of the curriculum, more specifically on the application of these concepts in the Drawing module of the Design and Studio Art programme. A qualitative research approach was employed through reflective observations by the lecturer in the drawing lesson of 38 students who were enrolled on this programme. An analysis was further done on students’ abilities to apply mathematical concepts in their drawing project and what they have learnt in the Numeracy module. Findings revealed students’ abilities to apply mathematical concepts with ease- this after the lecturer explained the relations amongst these concepts to drawing. It appeared as though this intervention benefited mostly the students who were struggling with drawing. A key recommendation is that the application of the stated mathematical concepts be practiced in other modules within the Design and Studio Art programme at CUT.
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Esch, Markus, Bernd Ju¨rgens, Antonio Hurtado, Dietrich Knoche, and Wolfgang Tietsch. "State of the Art of Helium Heat Exchanger Development for Future HTR-Projects." In Fourth International Topical Meeting on High Temperature Reactor Technology. ASMEDC, 2008. http://dx.doi.org/10.1115/htr2008-58146.
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In Germany two HTR nuclear power plants had been built and operated, the AVR-15 and the THTR-300. Also various projects for different purposes in a large power range had been developed. The AVR-15, an experimental reactor with a power output of 15 MWel was operated for more than 20 years with excellent results. The THTR-300 was designed as a prototype demonstration plant with 300 MWel and should be the technological basis for the entire future reactor line. The THTR-300 was prematurely shut down and decommissioned because of political reasons. But because of the accompanying comprehensive R&D program and the operation time of about 5 years, the technology was proved and essential operational results were gained. The AVR steam generator was installed above the reactor core. The six THTR heat exchangers were arranged circularly around the reactor core. Both heat exchanger systems have been operated successfully and furthermore acted as a residual heat removal system. The technology knowledge and experience gained on these existing HTR plants is still available at Westinghouse Electric Germany GmbH since Westinghouse is one of the legal successors of the former German HTR companies. As a follow-up project of THTR, the HTR-500 was developed and designed up to the manufacturing stage. For this plant additionally to the 8 steam generators, two residual heat removal heat exchangers were foreseen. These were to be installed in a ring around the reactor core. All these HTRs were designed for the generation of electricity using a steam cycle. Extensive research work has also been done for advanced applications of HTR technology e.g. using a direct cycle within the HHT project or generating process heat within the framework of the PNP project. Because of the critical attitude of the German government to the nuclear power in the past 20 years in Germany there was only a very limited interest in the further development of the HTR technology. As a consequence of the German decision, at the beginning of the 90s, to phase out nuclear power completely, research and funding of further development of HTR reactor design was also cut down. Today’s HTR reactor designs, such as the PBMR in South Africa, use a direct cycle with a gas turbine. This technology is also based on the THTR technology and PBMR is a licensed party. For the HTR-PM in China and the future oil sand projects powered by HTR’s in Canada and Siberia however the use of steam generators is required. Westinghouse and Dresden University cooperate in the field of steam generator technology for HTR reactors. The existing know-how for HTR is based on a huge pool of knowledge gained by the past German HTR projects mentioned above and consists especially of the design methodology, the mechanical layout and material issues for helium heated steam generators. The project team consists of experienced specialists who have worked on HTR projects in the past and of young graduate engineers. Main goal of the project is to analyze the existing know-how and to adjust it to the state of the art. As a first step, the existing design and its methodology is being analyzed and the different points of improvement are identified. The final step of the program is the description of a new methodology which fulfills the severe requirements of the customer and all of the actual licensing conditions. One of the reasons why this project has been launched is that the requirements of life expectancy for HTR components increase and the material limits will be reached, especially at high temperatures. This implies that the design of helix heat exchangers has to allow inservice inspections; this was not a requirement for the previous THTR design. Methodologies for in-service inspections already had been developed, but they are not sufficient for today’s tube lengths and have to be adapted. Another example, based on operating experience, is using reheaters to increase the efficiency is not recommended today. Using supercritical steam conditions to increase the efficiency should be investigated instead. In general, the economic benefit has to be balanced against the additional costs resulting from better material and more complex manufacturing.