The project undertaken was aimed at extending a current craft based jewellery practice. Related by structure and materiality, the research sought to develop exploratory shapes as low seating objects to exist within small scale living spaces and studio apartments. Signaling an increased conscious way of thinking and working, a reflective process examining each form as series, provided an incremental creative strategy. The availability of discarded materials suggested possibilities for a sustainable cost effective option as a mode of contemporary practice. This combined approach was considered impact negative, diffusing global waste, and impact positive providing valid alternatives through functional and aesthetic objects. At present waste materials exist as products are still designed and made on the basis of planned obsolescence, thus an exploitation and escalation of global resources and resultant hazardous outcomes continues. Citing selected writings by Victor Papanek, (1992), and Edwin Datschefski, (2006) provided an understanding of the misuse high impact advanced technologies imposes on the environment. These notions were discussed during the project and in relation to contemporary models of practice which currently use discarded materials to make objects for living. Based on a survey observing the local homewares and furniture industries within Sydney, Australia, and recent published material, a niche market was discovered for challenging conventions of low seating objects. Initial sketches were transformed into marquettes then developed into full size prototypes of multi functional forms. a series of forms were scaled up, made of discarded materials using simple hand crafted processes and minimal production methods. As a reference influences included architects, sculptors and craft practitioners who were examined particularly for their use of discarded materials or for their construction methods. During experimental studies visual source material drew upon an observation and analysis of architecture, skeletal structures and land formations. In an exhibition originally titled, "Be Seated", these forms made as initial prototypes were exhibited at Kudos Gallery, Sydney, Australia, during May 2007. They were later refined and renamed as "Low Life" for a group exhibition "Contained" held at Kudos Gallery during 2008.

Title page, contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / The memoir dealing with the 1st year following her daughter’s death, has developed from 5 personal essays on grief submitted for a Master of Fine Arts in Writing, University of San Francisco, 1992 and is intended to honour her daughter’s life and tell her own story. The exegesis: The ethics of life writing, grew out of the questions explored in the process of writing the memoir: What does it mean to write the ’truth’?; What must I consider when writing about others?; and, Should I reveal information that is regarded as secret or private? / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1259954 / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006

Title page and synopsis only v.2; Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / Abstract from Exegesis: As writers create stories within fragile and contested territories, they are often confronted by difficult ethical questions. When the lives of people from different cultures, races and genders intersect, whose story should be told? Does the person of white, European ancestry have the right to tell his/her part of that story? Does a man have the right to tell a woman's story? If so, from whose point of view? If not, should stories be peopled only with one's own race, one's own gender? Must a person of mixed identity write only about one race, one ethnicity? If so, which one? What is the responsibility of the writer to create stories of the world she/he observes and lives in rather than the ideal one in which most of us would like to live? How does the writer construct writing practices that embody theoretical and ideological values without privileging polemic over artistic integrity? These questions are not just philosophical for me as a writer. The answers determine what I will or will not permit myself to write, especially since I want to approach story-telling with a sensitive eye to the power of literature to show readers a world of diverse and intersecting experiences. This essay explores the responses to such questions by a number of highly respected international writers whose work has informed my writing. It also looks at the ethical use point of view as a strategy for entering the space of intersecting human experiences within contested geographic and political terrain. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1232065 / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006

Title page and synopsis only v.2; Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / Abstract from Exegesis: As writers create stories within fragile and contested territories, they are often confronted by difficult ethical questions. When the lives of people from different cultures, races and genders intersect, whose story should be told? Does the person of white, European ancestry have the right to tell his/her part of that story? Does a man have the right to tell a woman's story? If so, from whose point of view? If not, should stories be peopled only with one's own race, one's own gender? Must a person of mixed identity write only about one race, one ethnicity? If so, which one? What is the responsibility of the writer to create stories of the world she/he observes and lives in rather than the ideal one in which most of us would like to live? How does the writer construct writing practices that embody theoretical and ideological values without privileging polemic over artistic integrity? These questions are not just philosophical for me as a writer. The answers determine what I will or will not permit myself to write, especially since I want to approach story-telling with a sensitive eye to the power of literature to show readers a world of diverse and intersecting experiences. This essay explores the responses to such questions by a number of highly respected international writers whose work has informed my writing. It also looks at the ethical use point of view as a strategy for entering the space of intersecting human experiences within contested geographic and political terrain. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1232065 / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006

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Many of these poems, although written in English, are inspired by Sepedi idioms and proverbs. Some invoke township and village life, others the observations and questions that come from writing poetry and experiences of travelling to different countries to read my poems. Others dwell on the political transformation in South Africa, or its absence, and on my own spiritual transformation.

Based on three-month ethnographic fieldwork among investigative journalists in Beijing News, this dissertation is about the transformation of printing journalism in a time of crisis. This study explores what specifically constitutes the crisis of Chinese printing journalism in general and investigative journalism in particular, and how they respond to the crisis. Existing western debate of newspaper crisis predominantly revolves around the rapid technological and economic change. Rooted in the ‘liberal-pluralist’ political economy of communication, however, my dissertation suggests that we also need to take the political factors into consideration when discussing the crisis of traditional media in China-an authoritarian country without media freedom. I argue that the crisis of Chinese printing journalism is not only the shrink in circulation and advertisement revenue and the technological impinging on traditional way of producing and distributing news, as their western counterparts; but also the increasingly narrowing space for critical coverage that Chinese political and investigative journalists appreciate and expect. The three facts-political control, economic recession, and technological innovation-are interwoven together and profoundly shape the Chinese printing journalism. Under such situation, Chinese newsroom is under transformation. Taking an approach of sociology of news, my paper also examines how Beijing News and its investigative reporting team reshuffle the organizational structure to overcome the crisis. On the one hand, the reorganization is aimed at adapting to and adopting new technologies to gain a toehold in the new editorial and business model; on the other hand, it is a rearrangement of its strategy in overcoming the political constraints and carrying out critical reporting. Different from the opinion from Tech-Utopian or Tech-Determinism who suggests that technology will completely reshape the structure of newsroom and journalistic practice, I argue that organizational tradition and culture make the complete redefinition impossible. Based on the reform strategy what I called a combination of ‘convergence’ and ‘de-convergence’, I suggest that Beijing News successfully keeps a balance between ‘embracing the online world’ and ‘keeping its tradition of pursing for original and investigative journalism’. The well-established organizational routine should not be deemphasized in discussing the reconstruction of traditional newsroom at least for two reasons. Firstly, the professional routine overcomes the potential negative impact of new technology on quality journalism. Secondly, what strategies are adopted in the newspaper transformation is closely relevant to its structural and cultural feature. As a canary in the coal mine, Beijing News sets an example for many other printing newspaper around the country with difficulty in addressing the crisis, coming from whatever political, economic or technological aspects.

This dissertation is rooted in the theory of time and place and it considers the built environment through the lens of past, present and projected future evolution. The project examines various themes of dualistic study within the broader subject of time and change. Pertinent to the 21st century, the interface between man, technology and architecture is investigated in an examination of how architecture can intervene in the process of perpetual modernisation and the benefits or compromising attributes it has on man. Additionally, the relationship between old and new built fabric in architectural heritage is studied and a mediative architectural approach is proposed. Also, the dual construct of permanence and change in architecture is investigated. At the dawn of the fourth industrial revolution, where the physical- and the cyber worlds are continuously interwoven, a re-examination of learning models and the volatile situation of higher education in South Africa is conducted in anticipation of what technological advancement continuously presents and the impact this has on man and the built environment. The site of the Government Printing Works embodies a comprehensive intersection between time, change and architecture with a rich development history spanning over 120 years. The block tells the story of function, production and dissemination of knowledge, and this intangible heritage is commemorated by the proposed programme of a T.E.L. (Technology-Enabled-Learning) Centre that blends physical and virtual learning environments and where knowledge is distributed in a ubiquitous manner. / Hierdie studie is gegrond in die teorie oor tyd en plek en dit beskou die bouomgewing deur die lens van verlede, hede en geprojekteerde toekomstige evolusie. In die wyer onderwerp van tyd en plek word verskeie temas van dualistiese studie ondersoek. Met toepassing op die 21ste eeu, word die koppelvlak tussen die mens, tegnologie en argitektuur ondersoek, deur 'n studie oor hoe argitektuur kan ingryp in the proses van onophoudelike modernisering en die voordele of nadele wat dit inhou vir die mens. Daarbenewens word die verhouding tussen ou en nuwe geboue bestudeer en 'n bemiddelinde argitektoniese benadering word voorgestel. Verder word die dubelle benadring van vastheid en verandering in argitektoniese elemente ondersoek. Aan die omvang van 'n vierde industri?le revolusie, waar die fisiese en die kuber w?relde voortdurend verweef word, word 'n herondersoek van leermodelle en die huidige wisselvallige situasie van ho?r onderwys in Suid-Afrika gedoen, in afwagting van wat tegnologiese vooruitgang voortdurend bied vir die mens en die beboude omgewing. Die terrein van die Staatsdrukkery verpersoonlik 'n omvattende kruising tussen tyd, verandering en argitektuur met 'n ryk geskiedenis van ontwikkeling wat strek oor meer as 120 jaar. Die blok vertel die verhaal van funksie, produksie en die verspreiding van kennis, en hierdie nie-tasbare erfenis is herdenk deur die voorgestelde program van 'n T.A.L. (Tegnologie Aangedrewe-Leer) Sentrum wat fisiese en virtuele leeromgewings saamsmelt en waar kennis versprei word in 'n alomteenwoordige wyse / Mini Dissertation (MArch (Prof))--University of Pretoria, 2016. / Architecture / MArch (Prof) / Unrestricted

Coils of the serpent is a scholarly journal dedicated to the investigation of contemporary manifestations of power. It is intended as an open-access platform where diverse theories and analyses of power shall be developed, brought into dialogue with each other, discussed, criticized, illustrated and popularized. The journal was launched in 2016.

The aim of this study is to explore the relationship between connected learning environments and rural learners' development of 21st century skills. The driving question for the research is, "what is the impact of introducing a technology supported connected learning environment on rural learners' development of 21st century skills?" The need arises out of the undesirable state of education in South African public schools, particularly in poor, rural and marginalised areas. The literature shows that the learning environments in these contexts are stuck with an old education system that needs radical reinvention for the 21st century. The connected learning framework is used as a model for learning and a reference for design of the intervention that is employed. The study uses a qualitative and experimental approach for data collection, using semi-structured interviews, focus groups and data collected through a social media platform. The results show that connected learning is a possible approach to education in rural contexts, with learners showing evidence of 21st century skills development over the period of the study. Theoretical insights generated include the mechanisms with which connected learning environments promote 21st century skills development. The study also generated helpful insights for organisations and practitioners wanting to introduce modern learning environments in rural schools in South Africa.