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The primary research question for this project: whether drawing practice could be used as a method with which to explore and interpret ordinary verbal interaction, was derived from a philosophical concern as to the nature of the relation between our meaningful engagement with the art object, and our inherent predicament as human beings in a social world. The research was carried out in the manner of a reflexive exploration through drawing practice. Adhering to the principles of Grounded Theory, the research strategy was considered hermeneutic in that it was rooted in interpretative understanding. Series of drawings generated by the author were developed, as an integral part of the research process,from an initially creative and intuitive response to primary and secondary data:original conversations, audio recordings and written transcriptions respectively. The analysis constituted a continuous development of initial sketches, through tracings and overlayerings, to large-scale works. Linguistically orientated methodological approaches, derived primarily from the social sciences and including Content,Linguistic-Syntactic and Conversation analyses, were used continuously with the drawings in a comparative analysis procedure that explored equivalences between verbal and visual ?texts?. The research culminated in a Pragmatic analysis of viewers?responses to defined sets of drawings, demonstrating that far from being an isolated and subjective phenomenon, the experience of art could be understood inhermeneutic terms as a profound dialogical achievement, relative to the achievement that is definitive of a casual conversation. In accordance with the hermeneuticcharacter of the process as a whole, reflexive content in the research was considered a crucial factor throughout the analysis and conclusions focused on emotion,meaning and interpretation more than on cognitive research issues of artistry or perception. In terms of new knowledge, this project demonstrates a self-reflexive enquiry by means of drawing practice and its analysis as an original form of research. Thepotential for further work is consequently based on the development of themethodological approach in fields other that the fine arts, so that drawing practice, as well as fulfilling aesthetic ambitions and/or intentions, can also be considered a useful research tool.

As humans we live in a world where we are constantly interacting with those around us. To achieve this we must be able to successfully anticipate the intentions of others by correctly interpreting their movements. In studying how humans interpret intention from motion, we make use of simplified scenarios known as animacy displays where it has been shown that observers will attribute human-like qualities to the motion of geometric shapes (Heider and Simmel, 1944). This thesis advances the research into the attribution of social intentions by re-addressing the methods for the creation of animacy displays, leading to previously unexplored avenues of research. Where animacy displays are normally made via clever animations or mathematical algorithms, we introduce a method for creating these displays directly from video recordings of human motion, there by producing the first examples of animacy displays that are truly representative of human motion. Initially, explorative steps were taken to establish this technique as successful in creating displays that will be perceived as animate, using video recordings of simple and complex human interactions as a basis. Using a combination of tasks, including free response tasks and 10 point Likert scales, the use of this technique for stimulus production was validated. Furthermore, results showed that the viewpoint from which animacy displays are to be perceived from, comparing a side view and an overhead view, has effects on the ability to judge intentions in the displays, with a clear preference to the elevated viewpoint. Following this, the intentions of Chasing, Fighting, Flirting, Following, Guarding and Playing, thought to be generic to animacy displays, were used to create displays via this new method of stimulus production. Using a six Alternative Forced Choice (AFC) task it was shown that participants are successful at recognising these intentions, however, that the addition of ordinal depth cues, as well as cues to identity and boundaries, has little impact on increasing the ability to perceive intentions in animacy displays. Next, an experiment on the ability to judge intentions in animacy displays of brief durations was performed. Using the same 6 intentions as before, displays were created lasting 1, 5, and 10 seconds. Results of a 6 AFC task showed that observers are accurate at all durations, and furthermore, results indicate that participants are as accurate at recognising the intention in a display after 5 seconds, as after viewing longer durations of approximately 30 seconds. We then perform a comprehensive analysis of the animacy displays used, looking at the motion patterns and the kinematic properties such as speed, acceleration and distance of the agents. This analysis shows clear differences in the displays across viewpoints, and across intentions, that are indicative of the cues that participants may use to differentiate between intentions. We also perform a stepwise regression analysis to find the motion and positional predictors that best explain the variance in the behavioural data of previous experiments in this thesis. It is found that speed and acceleration cues are important for the classification of intentions in animacy displays. Finally, a study is presented that attempts to advance research into the perception of social intentions by people with Autistic Spectrum Disorders (ASDs), using video recordings of human motions and the resultant animacy displays. The intentions of Chasing, Fighting, Flirting, Following, Guarding and Playing, were again used in conjunction with a 6 AFC task. Comparing people with ASDs to an age-matched control population, results indicate that people with ASDs are poorer at judging intentions in animacy displays. In addition, results reveal an unknown deficit, not seen in the control population, in judging intentions from an elevated position in video displays. This work may be considered of interest to various groups of people with a wide range of research interests, including the perception and cognition of human motion, the attribution of social intent and “Theory of Mind”, and the surveillance of people via video techniques.

Collaborative physical tasks are working tasks characterised by workers 'in-the-field' who manipulate task artefacts under the guidance of a remote expert. Examples of such interactions include paramedics requiring field-surgery consults from hospital surgeons, soldiers requiring support from distant bomb-disposal experts, technicians inspecting and repairing machinery under the guidance of a chief engineer or scientists examining artefacts with distributed colleagues. This thesis considers the design of technology to support such forms of distributed working. Early research in video-mediated communication (VMC) which sought to support such interactions presumed video links between remote spaces would improve collaboration. The results of these studies however, demonstrated that in such tasks audio-video links alone were unlikely to improve performance beyond that achievable by simpler audio-only links. In explanation of these observations a reading of studies of situated collaborative working practices suggests that to support distributed object-focussed interactions it is beneficial to not only provide visual access to remote spaces but also to present within the task-space the gestural actions of remote collaborators. Remote Gestural Simulacra are advanced video-mediated communication tools that enable remote collaborators to both see and observably point at and gesture around and towards shared task artefacts located at another site. Technologies developed to support such activities have been critiqued; their design often fractures the interaction between the collaborating parties, restricting access to aspects of communication which are commonly used in co-present situations to coordinate interaction and ground understanding. This thesis specifically explores the design of remote gesture tools, seeking to understand how remote representations of gesture can be used during collaborative physical tasks. In a series of lab-based studies, the utility of remote gesturing is investigated, both qualitatively, examining its collaborative function and quantitatively exploring its impact on both facets of task performance and collaborative language. The thesis also discusses how the configuration of remote gesture tools impacts on their usability, empirically comparing various gesture tool designs. The thesis constructs and examines an argument that remote gesture tools should be designed from a 'mixed ecologies' perspective (theoretically alleviating the problems engendered by 'fractured ecologies' in which collaborating partners are given access to the most salient and relevant features of communicative action that are utilised in face-to-face interaction, namely mutual and reciprocal awareness of commonly understood object-focussed actions (hand-based gestures) and mutual and reciprocal awareness of task-space perspectives. The thesis demonstrates experimental support for this position and concludes by presenting discussion of how the findings generated from the thesis research can be used to guide the design of future iterations of remote gesture tools, and presents directions for areas of further research.

Thesis (M.A.)(African Languages) --University of Limpopo, 2009. / Most people feel not comfortable in taking part in ritual ceremonies thinking that they are barbaric, old fashioned and valueless. The aim of this study is to make this people change their perspective by bringing out their significance through thorough investigation on the symbolism which is used in their performances which hides their practical meaning and value. Qualitative method was used to gather the information and data used in this research in which interviews were conducted. Thirty people, both males and females were visited at their homes from villages around Malamulele Township, although only few were quoted.Their responses made it clear that a lot of symbolism is used in Xitsonga ritual ceremonies which made it not clearly understood by the youth which led to their downfall. It is recommended that in the performance and practice of these rituals, a sort of explanation should be given which will clear inquisitive minds. It is also recommended that the society at large be educated about their value and significance for them to practice them with pride and dignity.

Οι χειρονομίες και οι κινήσεις, εκτός από εξωτερικά, εκφραστικά μέσα αποτελούν φορείς νοημάτων και μηνυμάτων. Στο αρχαίο ελληνικό θέατρο δεν υπάρχει μια ξεκάθαρη προσέγγιση για την ερμηνεία των χειρονομιών και η δυσκολία έγκειται στο γεγονός, ότι προσπαθούμε μέσω των συμβολισμών που χρησιμοποιούμε στην σύγχρονη καθημερινότητα, να προσεγγίσουμε την υποκριτική των τραγικών και κωμικών ηθοποιών, γεγονός στο οποίο ελλοχεύει ο κίνδυνος να παραπλανηθούμε ως αναγνώστες των δραματικών κειμένων. / The gestures and movements, except of external, ways of expression they are considered to be carriers of signs and messages. In the ancient greek theatre there isn’t a clear approach for the explanation of the gestures and the difficulty is in the fact that we try by the symbols we use in the contemporary everyday life, to approach the drama of the tragical and comical actors, fact to which there is the danger for us to be decepted as readers of the dramatic passages.

Thesis (Ph.D. (Tshivenda)) -- University of Limpopo, 2015 / This study examines the role of non-verbal communication among the Vhavenḓa. It must be borne in mind that in comparison with verbal communication non-verbal communication tends to be perceived less accurately. This seems to be because every culture interprets body language, gestures, postures and vocal noises differently. Thus, in many instances, non-verbal communication tends to be misinterpreted and misunderstood. This is the problem that the study investigated and the findings of the study may help to indicate ways that can be used to interpret non-verbal communication in Tshivenḓa correctly. From the data collected, the study showed that there are several types of non-verbal communication that Tshivenḓa speakers use regularly. These are silence, kinesics, postures, facial expressions, heptics, proxemics and time. The study has adopted the qualitative research approach to collect and analyse the data. Using this approach, the study determined that there are several meanings that the Vhavenḓa associate with the aforementioned types of non-verbal communication. For instance, silence is largely associated with respect, good manners and satisfaction. Kinesics actions, such as kneeling down, denote kindness, honour and welcome. The study also shows the disadvantages of non-verbal communication which are part of silence, such as an indication of hatred, loneliness and witchcraft. In the main, the study shows that non-verbal communication in the Tshivenḓa culture is also gender based. For example, men are discouraged from walking behind their women as they would be deemed to be stupid, weak and lacking in leadership qualities. This fosters gender stereotypes and inequality between males and females - aspects which the constitution of the country discourages. The results of the study have led to several recommendations of which the following are the more prominent ones: as silence is not always golden Tshivenḓa-speakers should be encouraged to voice their feelings rather than remain in bondage forever and good manners should be encouraged as long as their realisation does not trample on people’s rights - regardless of their gender. Crucially, the study also recommends that life is dynamic and some cultural attributes that were fashionable in the past are no longer so today. Therefore, men especially should be taught to accept the new democratic order which accords everyone the respect they deserve - regardless of age, gender and religion.