My thesis examines the evolution of the enabling legislation to the South African Truth and Reconciliation Commission (TRC), the Promotion of National Unity and Reconciliation Act (34) 1995, through the historical, legal, philosophical and ideological issues that underpinned the Act. Transitional justice is an interregnum characteristic and comprises both accountability and the establishment of a moral society. Historically, the South African government's principal adversary, the African National Congress (ANC) advocated a just, multi-racial and equitable society through leaders such as Pixley ka Isaka Seme, Professor Z.K. Matthews and Chief Albert Luthuli. ANC leaders from 191 2-1 960 were mission educated and regarded segregation as the antithesis of their strong Christian principles and in opposition to Gospel values. They advocated the reformation of South African society through passive resistance and the attainment of the franchise. After the 1960 Sharpeville massacre and the entrenchment of "grand apartheid", the ANC adopted the armed struggle while the state committed numerous gross human rights violations to maintain apartheid. While exiled, the ANC established its just war claims with a meritorious cause, its jus ad bellum. By 1990 a settlement was negotiated between the principal adversaries. The interregnum was characterised by violence, commissions of inquiry and various requests for indemnification/amnesty. The ANC's just war claims were eroded with allegations of atrocities in its military camps that severely undermined its claims to the moral high-ground. Its poor conduct of the armed struggle, its jus in bello, was confirmed in various subsequent reports. The ANC's decisive election victory of April 1994 provided the Congress with an opportunity to structure transitional justice through the enabling legislation to the TRC on its own terms and prove through the self-incriminating evidence that emerged at the TRC hearings that apartheid was a crime against humanity and that the armed struggle was a just war with a meritorious jus ad bellum.

No description available.

No description available.

This study was intended to further the understanding of organisational culture and climate on board a ship, it also explored the linkages that these two broad areas had with marine accidents. The study was designed to represent, as broadly as possible, the views of seafarers all around the world. An extensive literature search of databases in the maritime, education and other cognate fields, revealed only two other studies that dealt with some of the issues examined by this study. The study also examined literature dealing with investigations into maritime accidents, as many of the causal factors identified by these investigations assisted the study in its examination of the organisational culture and climate of a ship. This study addresses three key questions: What is the nature of the organisational culture aboard a ship? What is the nature of the organisational climate aboard a ship? and, Are there any aspects of organisational culture and climate that impact on the safety culture of a ship? This thesis therefore contains descriptions of the organisational culture and climate aboard ships, to facilitate a better understanding of the environment within which ships operate. In examining these two areas this study focussed mainly upon the safety culture and climate of a ship, as the span of each of the earlier described areas was large and covered many issues. This study used a research approach that combined elements of quantitative and qualitative methods. This mixed-mode was deemed the way to proceed as the researcher wished to utilise data gathering approaches that have been used in both broad research approaches, i.e., a questionnaire, metaphorical analysis, and document analysis. This mixedmode approach allowed the investigation of issues within a bounded system, but where the participants were widely dispersed and not readily accessible for extended face-to-face data gathering. The study utilised three instruments for data gathering, which generated three datasets. These datasets provided the basis on which the statistical analysis was conducted. The three instruments used in the survey were the 'Maritime Culture Questionnaire' (MCQ), 'Assumptions through Metaphor' (AtM) Questionnaire and the 'Maritime Climate Questionnaire' (MClQ). The total number of seafarers who participated in the instrument survey was over 700 persons and like most surveys of this kind there was a slight variation in the number of respondents for each instrument. Analysis of the datasets enabled the organisational culture aboard ship to be described comprehensively. This analysis demonstrated that Heads of Departments (HODs) and seafarers displayed either one of two distinct behavioural characteristics when they worked aboard ship. The first characteristic behaviour was the 'HOD Collegial Behaviour' type, here the HOD would be positive and demonstrably supportive toward subordinates. The other characteristic behaviour was the 'HOD Formalistic Behaviour' type, when displaying this type of behaviour the HOD showed indifference toward subordinates and their activities. When a HOD displayed this latter behaviour, respondents indicated that it had a negative impact on the safety climate of a ship. The addition of outcome variables to the MCQ instrument permitted linkages to be made between the organisational culture aboard ships and marine accidents. Similarly an analysis of the third dataset enabled the development of a description of the organisational climate of a ship. This examination of the organisational climate of a ship identified situations when seafarers were likely to display the described behavioural characteristics. The study also found that it is possible that these negative behaviours were displayed more often than the positive ones. The findings of this study make recommendations that will assist in improving the safety climate on board ships. This study makes recommendations that have relevance to personnel managers of shipping companies or ship-management companies, maritime regulatory authorities, maritime educators and Heads of Departments on board ships.

The capacity of art to communicate my concern regarding the extinction of plant life in Tasmania is the subject of my investigation. Extinct plants distil and foreshadow my broader concerns for the future of all living entities. The plants that are lost due to extinction are often the silent victims of our land use practices. Making nature: Extinct Tasmanian plants, is an installation of art works that commemorate the extinction of twenty two Tasmanian plants. The art works take the form of embroidered wreaths, funeral urns and a memorial board. My aim in creating the art work is to encourage reflection regarding the role that members of our society have played in the loss of these plants. We may unwittingly be contributing to extinction and thereby ‘making nature’ in the process. A part of my motivation for creating this body of work has been to highlight the grief I feel when I learn that a plant species has been extinguished. My objective has been to represent the extinct plants in a manner that may elicit an experience of beauty amongst the viewers of my art. Beauty has the potential to arouse meaningful connections between the viewer and the plants, whereas, extinction eradicates that possibility and destroys the prospect of relationships between living things. Therefore, my use of beauty in the art work is subversive, because I am not seeking to provide pleasure; I have sought, instead, to generate a sense of anguish due to the loss of these plants. My investigative work draws associations with the art of Andy Warhol, Gregory Pryor, Janet Laurence, Fiona Hall and Christian Boltanski. Significant aspects of their work are discussed in relation to issues that I have examined in my art, including extinction, beauty and loss. Theories that examine the idea of beauty, including the reasons why it matters to us and how it affects us are explored. I argue that in the presence of beauty we can be moved to critical reflection. Such aesthetic and cognitive judgements surrounding beauty may lead to a greater awareness of the human impact on the natural environment. The project makes a contribution to the field of visual art through the theoretical examination of beauty in the context of contemporary arts practice. This visual work makes a contribution to knowledge by testing the capacity of art to create a commemorative site for reflection about the impact of extinction in Tasmania.

No description available.

No description available.

No description available.

The Master of Creative Arts Research investigates cross-cultural interactions with Vanuatu between 2003 and 2008. Several fieldtrips to the island of Efate the main island, site of the capital Port Vila enabled meetings with the visual art milieu of craftspeople, artists, the Vanuatu Cultural Centre and Museum, the two Art Foundations Michoutouchkine and Susanne Bastien, as well as commercial outlets. It confirmed my interest in setting up conversations between my own art practice in Australia with individual artists in Vanuatu through two conferences, firstly the Pacific Arts Association IXth International Symposium Musée du quay Branly in 2007 in Paris and secondly, the Pacific International Museum Association in Port Vila in 2008. My research, which includes two exhibitions, presents a working strategy based in artistic process for developing an on-going dialogue between artists from the Pacific and non-Indigenous Australian culture. Core concerns for island communities such those in Vanuatu include an understanding of the multiplicity within island cultures, a developing relationship between genders and a situation of constant change and development in relation to dominant external influences. 

My research built on insights from recent exhibitions by indigenous and non-indigenous artists and curators, which included work from, mixed cultural backgrounds such as Weaving the Murray (Art Gallery of South Australia and Prospect Gallery, Adelaide 2002), News from Islands (Campbelltown Art Centre 2007), and Woven forms (Object Gallery, Sydney and Form Gallery, Perth 2006).My collaborative research and exhibition document my encounter with two ni-Vanuatu artist/craftspeople Eric and Linda Natuoivi. Eric Natuoivi was already acknowledged as a leading Pacific artist through his involvement in the Asia Pacific Triennial of 1996, while his wife Linda is a highly regarded weaver within her community, but unknown outside Vanuatu. 
Key issues that emerge are the interactions between artists and between artists and audience; the power relations between cultures and institutions, and facilitating the needs of artists from very different cultural situations. The exhibition Encounters in Vanuatu (FCA gallery 2009) documents the processes of these interactions as well as presenting important examples of Eric and Linda Natuoivi’s works. My artwork, in the adaptation of plaited structures and photographs, reflects the transformation that occurred as a result of being a catalyst between two worlds. Digital images and short films address the complexities of reading artworks outside their context of production, and in the artificial reality of the gallery space. This essay proposes a model for cross cultural interaction and highlights the significance of artistic, intellectual and economic benefits for artists engaged in cross-cultural events.

The Master of Creative Arts Research investigates cross-cultural interactions with Vanuatu between 2003 and 2008. Several fieldtrips to the island of Efate the main island, site of the capital Port Vila enabled meetings with the visual art milieu of craftspeople, artists, the Vanuatu Cultural Centre and Museum, the two Art Foundations Michoutouchkine and Susanne Bastien, as well as commercial outlets. It confirmed my interest in setting up conversations between my own art practice in Australia with individual artists in Vanuatu through two conferences, firstly the Pacific Arts Association IXth International Symposium Musée du quay Branly in 2007 in Paris and secondly, the Pacific International Museum Association in Port Vila in 2008. My research, which includes two exhibitions, presents a working strategy based in artistic process for developing an on-going dialogue between artists from the Pacific and non-Indigenous Australian culture. Core concerns for island communities such those in Vanuatu include an understanding of the multiplicity within island cultures, a developing relationship between genders and a situation of constant change and development in relation to dominant external influences. 

My research built on insights from recent exhibitions by indigenous and non-indigenous artists and curators, which included work from, mixed cultural backgrounds such as Weaving the Murray (Art Gallery of South Australia and Prospect Gallery, Adelaide 2002), News from Islands (Campbelltown Art Centre 2007), and Woven forms (Object Gallery, Sydney and Form Gallery, Perth 2006).My collaborative research and exhibition document my encounter with two ni-Vanuatu artist/craftspeople Eric and Linda Natuoivi. Eric Natuoivi was already acknowledged as a leading Pacific artist through his involvement in the Asia Pacific Triennial of 1996, while his wife Linda is a highly regarded weaver within her community, but unknown outside Vanuatu. 
Key issues that emerge are the interactions between artists and between artists and audience; the power relations between cultures and institutions, and facilitating the needs of artists from very different cultural situations. The exhibition Encounters in Vanuatu (FCA gallery 2009) documents the processes of these interactions as well as presenting important examples of Eric and Linda Natuoivi’s works. My artwork, in the adaptation of plaited structures and photographs, reflects the transformation that occurred as a result of being a catalyst between two worlds. Digital images and short films address the complexities of reading artworks outside their context of production, and in the artificial reality of the gallery space. This essay proposes a model for cross cultural interaction and highlights the significance of artistic, intellectual and economic benefits for artists engaged in cross-cultural events.