Le site de Chellah situé à Rabat au Maroc rassemble des témoignages archéologiques et historiques allant de la période pré punique aux sultans mérinides. Le site n'est actuellement pas mis en valeur voire à l'abandon. Par le biais de ce travail de recherche, une proposition opérationnelle de mise en valeur du site de Chellah à travers la création d'un musée de site est mise en avant. Cette proposition se base sur l'évolution des notions de patrimoine, musées et tourisme dans la période contemporaine à la fois en Europe et au Maroc et sur l'analyse de trois études de cas (Montréal, Saint-Romain en Gal et Saragosse) en mesure de dégager des éléments de réussite quant à la transformation d'un musée de site en vecteur de développement local. Une approche scientifique poussée, combinée à une prise en compte des problématiques économiques, principalement touristiques font figure d'éléments déterminant dans la durabilité des musées de sites. Le musée devient ainsi un outil de développement à caractère interdisciplinaire. Ces facteurs de réussite sont repris dans la proposition de musée de site pour Chellah où l'ensemble du projet muséographique est détaillé tout en prenant en compte les spécificités socio-économiques du Maroc et de Rabat. / The archaeological site of Chellah located in Rabat, Morocco brings together historical and archaeological éléments from the Pre-Punic time untill the Merinid sultans' period. This site is currently not enhanced or even abandonned This research focuses on an operational enhancement of the site of Chellah. This proposal is based on the changing concepts of heritage, museums and tourism in the contemporary period in both Europe and Morocco and on the analysis of three case studies (Montreal, Saint-Romain en Gal and Zaragoza) allowing to identify elements of success in the transformation of a site museum into a vector of local development. A scientific work, combined with a consideration of economie issues mainly related to tourism are key elements in a sustainable approach in terms of a site museums valorization. The museum must also be considered as an interdisciplinary subject. These success factors are included in the site museum project of Chellah but this one also takes into account the specific socio-economic context of Rabat in Morocco.

Les séismes sont connus comme des catastrophes naturelles destructrices et meurtrières. Particulièrement dans les régions montagneuses, les effets des séismes sont encore beaucoup plus aggravés à cause des effets de site topographiques. La présence d'une pente est à l'origine d'une amplification du signal sismique notamment dans le voisinage de la crête. De nombreux séismes anciens tels que le séisme de Lambesc (1909, Ms=6.2) qui a conduit à la destruction du village de Rognes (Bouches-du-Rhône, France), ou plus récemment le séisme d'Athènes en Grèce (1999, Ms=5.9) qui a endommagé la ville d'Adames ainsi que les séismes de Chichi à Taiwan (1999, Mw=7.6), du Salvador (2001, Mw=7.6) et du Sichuan (2008, Mw=7.9) responsables de très nombreux glissements de terrain particulièrement catastrophiques sont des exemples représentatifs. Les investigations post-sismiques ont montré une contribution importante des effets de site topographiques au bilan des dommages humains et matériels. Dans le but d'améliorer les connaissances de ce phénomène, de nombreuses simulations numériques ont été réalisées sur des modèles de versant isolés en utilisant le logiciel FLAC 2D (Itasca). Les résultats obtenus ont été analysés en considérant plusieurs critères comme les facteurs d'amplification, les surfaces et les dimensions des zones d'amplification ainsi que la distribution spatiale de ces zones dans le massif de versant. Des études paramétriques ont permis de mettre en évidence le rôle principal de la fréquence adimensionnelle, rapport de la hauteur du versant à la longueur d'onde du signal sismique, dans l'évaluation des effets de site topographiques. Ces résultats montrent également que la pente est le deuxième paramètre important, suivie du coefficient de Poisson et de la géométrie de la crête et du pied de la pente.Ces résultats numériques ont également permis de définir des relations empiriques, nommées ANS, qui permettent d'estimer les effets de site topographiques selon les différents critères d'interprétation. Ces formules sont adaptées pour les signaux sismiques avec une bande de fréquences prédominantes relativement étroite. Pour les autres cas, la Méthode de Décomposition des ondes (MD) a été développé dans ce travail. Cette méthode est basée sur la décomposition du signal complexe multi-fréquentiel en plusieurs ondes mono-fréquentielles par transformée de Fourier. L'effet du signal complexe est alors évalué en faisant une combinaison des effets individuels de chaque onde élémentaire. Ces approches développées dans ce travail (ANS et MD) permettent d'évaluer les effets de site topographiques, en tenant compte de plusieurs paramètres géomorphologiques et sismiques du massif de versant ainsi que du contenu fréquentiel du signal sismique, sans avoir recours à des simulations numériques. / Earthquakes are known as destructive and murderous natural catastrophe. Particularly in the mountainous regions, the effects of earthquakes are still much aggravated due to the topographic site effects. The presence of a slope causes an amplification of the seismic signal, particularly in the vicinity of the crest. Numerous earthquakes in the past such as the 1909 Lambesc earthquake (Ms=6.2) which led to the destruction of the Rognes village (Bouches-du-Rhône, France), or more recently the 1999 Athens, Greece earthquake (Ms=5.9) which damaged the Adames city as well as the 1999 Chichi, Taiwan earthquake (MW=7.6), the 2001 El Salvador earthquake (MW=7.6) and the 2008 Sichuan earthquake (MW=7.9) responsible for numerous catastrophic landslides are representative examples. Post-seismic investigations demonstrated a significant contribution of topographic site effects on the human and material damage assessment.In order to improve the knowledge of this phenomenon, numerous numerical simulations were performed on the step-like slope models by using the FLAC 2D software (Itasca). The obtained results were analyzed by considering various criteria such as amplification factors, dimensions and area of amplification zones as well as spatial distribution of these zones inside the slope mass. The parametric analyses allow underlining the principal role of the dimensionless frequency, ratio of the slope height to the wavelength of the seismic signal, in the evaluation of topographic site effects. These results also show that the slope angle is the second important parameter, followed by the Poisson's ratio and the geometry of the crest and of the toe of slope.These numerical results allow pointing out empirical equations, called ANS, which can be used to estimate the topographic site effects according to different interpretation criteria. These formulas are suitable for seismic signals with a relatively narrow band of predominant frequencies. For other cases, the method concerning decomposition of seismic incident wave (MD) was developed in this work. This method is based on the decomposition of the complex multi-frequency seismic signal into multiple mono-frequency waves by using Fourier transform. The effect of the complex signal is then evaluated through a combination of the effects of elementary waves. The approaches developed in this work (ANS and MD) allow evaluating the topographic site effects, by taking into account geomorphologic and seismic parameters of the slope as well as the frequency content of the seismic signal, without recourse to numerical simulations.

Despite evidence suggesting that road traffic is a major threat to biodiversity loss, very little is known about its actual impact on wildlife populations in South Africa. Globally, road density and traffic volumes are increasing, and although huge budgets are devoted to the construction and upgrading of roads, there is little or no allocation to mitigation measures for protecting fauna in most countries, particularly Africa. Further, no global standardised protocol exists for the rapid assessment of roadkill or the most economical and efficient approach for assessing roadkill rates. Using vehicle field trials, the reliability of detecting artificially deployed roadkill was assessed. Roadkill detection rates decreased significantly at speeds >50 km/h and were also significantly influenced by light conditions (i.e. detection success was greater when the sun was high) and the position of the roadkill on the road (i.e. smaller roadkill on verges were often missed). These results suggest that roadkill sampling was most effective between 1.5 hours after dawn and 1.5 hours before dusk and that driving at slower speeds (<50 km.h⁻ₑ) was required to detect roadkill. This protocol was implemented across three ecological seasons on a 100 km paved road and a 20 km unpaved road in the Greater Mapungubwe Transfrontier Conservation Area, Limpopo Province, South Africa. Driven daily over a 120-day period (three periods consisting each of 40 days), a total of 1,027 roadkill were recorded. These comprised 162 species from all terrestrial vertebrate groups with birds being the most commonly encountered roadkill (50% of all incidents). The high numbers of vertebrates identified as roadkill suggests that road traffic could have potentially unsustainable impacts on wildlife populations and hence the biodiversity of the area. Seventeen variables were identified as possible determinants of roadkill occurrence with season, rainfall, minimum and maximum temperature, habitat type, grass height, grass density, fence type and vehicle type significantly influencing roadkill numbers. Significantly more roadkill were detected on the paved road (9.91/100km) than on the unpaved road (1.8/100km) probably because of greater traffic volumes and the increased speed that vehicles travelled on the paved road. Warmer temperatures and increased rainfall in the preceding 24 hours also increased road mortality numbers as animals tended to become more active during these times. Interestingly, more roadkill was detected in open roadside habitats compared to dense roadside habitats on both the paved and unpaved roads and when grass on the roadside verge was of intermediate height. Open habitat possibly may provide a natural corridor for wildlife which ultimately end up on the road. Roadkill numbers increased when certain other physical barriers, such as cattle fences, were present, probably because these barriers were more penetrable than electric fencing. A series of mitigation measures are proposed to reduce the impacts of roads on wildlife in South Africa. These mitigation measures highlight the need to address the balance between the development of a country’s transport infrastructure and the conservation of its fauna. It is important that research on the impacts of roads becomes standardised to enable robust statistical comparisons which will provide a greater understanding of the potential threats to vertebrate biodiversity

No description available.

La recherche a pour point de départ les problèmes environnementaux que rencontrent actuellement les architectes. Les changements de priorités au profit de l'environnement peut être bien observé dans l'architecture récente de Paris, arène où se rencontrent les tendances les plus novatrices et les plus caractéristiques de leur temps. Le travail se propose de suivre cette évolution en prenant pour objet d'analyse deux jardins apparus récemment à Paris : le parc de La Villette de Bernard Tschumi et le Jardin en mouvement du parc André-Citroën conçu par Gilles Clément. Ces deux réalisations avec le même programme (parc urbain) ont l'avantage de résulter des approches diamétralement opposées et d'être en même temps très représentatives de l'architecture de leur décennie. Les enjeux de la recherche sont les suivants :– Montrer qu'un changement considérable s'est produit dans l'architecture européenne des années 90, à savoir le changement des priorités au profit de l'environnement. Il s'agit de montrer que l'architecture contemporaine est entrée dans une nouvelle phase de son évolution, tout en insistant sur l'importance du « tournant écologique ». Le mouvement écologique en architecture n'est pas une mode passagère, introduite par quelques personnalités influentes. Ce n'est pas non plus un « style » parmi d'autres ni un « courant » au sein de l'architecture contemporaine. Au fond, il s'agit d'un mouvement qui apparaît en réponse aux besoins réels de la société occidentale. L'un des objectifs de la recherche est de montrer la nouveauté de l'architecture écologique non seulement par rapport à l'architecture de la période précédente mais aussi par rapport à l'architecture traditionnelle.– Dégager les moteurs de cette évolution de l'architecture. Les changements dont il s'agit sont dus à plusieurs facteurs : économiques (énergétiques), environnementaux, politiques. Le travail de thèse a pour but de montrer comment ces facteurs ont contribué, directement ou indirectement, au passage vers l'architecture écologique. Il ne s'agit pas d'établir un simple rapport de dépendance mais d'analyser les processus dans toute leur complexité. Les processus dont il s'agit ne sont pas toujours linéaires, et l'apparition de cette nouvelle architecture résulte de la superposition de plusieurs tendances.– Analyser le contexte esthétique de l'apparition de l'architecture écologique. La recherche situe les objets d'analyse dans leur contexte culturel français et international, en montrant que l'apparition de l'architecture écologique va de pair avec une certaine crise du paradigme moderniste, qui a épuisé son potentiel théorique. La recherche se propose d'établir des parallèles entre l'architecture contemporaine et des phénomènes appartenant à la littérature, à la philosophie, à l'art contemporain.– Analyser le tournant environnemental (qui n'est pas encore achevé) dans une perspective « futurologique », c'est-à-dire évaluer ses conséquences à long terme / The point of departure of this thesis research is the environment worries which are currently faced by the architects. The shift in priorities to the environment may be followed in the modern architecture of Paris, in the city where there are the most innovative, the most typical tendencies of the current time. The task of the research is to follow this evolution and two parks recently appeared in Paris: Park de la Villette by Bernard Tschumi and the park of André Citroën created by Gilles Clément are taken as the object of this analysis. The choice of the object is explained as follows: these two objects are derived from the diametrically opposed architectural approaches and at the same time they are very revealing for the architecture of its decade. Being focused on the architecture, the research has also interdisciplinary element. This work puts the objects of the analysis in their French and international cultural context. The research sets up parallels between the modern architecture and phenomenon from literature (fragmentary method of writing), philosophy (theory of fragments) and modern art

O projeto de pesquisa analisa os rumos do pensamento escultórico moderno em direção a uma escala ambiental, processo que tem origem no final do séc. XIX, momento em que a obra A Porta do Inferno, de Auguste Rodin, modifica o espaço narrativo clássico, rompendo com a premissa do monumento e passando a pleitear cada vez mais uma imersão da obra no espaço do observador. O período das vanguardas históricas também foi fundamental para se repensar as fronteiras entre as linguagens tradicionais e o reconhecimento de outras esferas que não a das belas-artes, desde a dissolução da base na escultura de Constantin Brancusi, passando pela renovação do estatuto de arte em Marcel Duchamp, até as experiências de colagem com a obra Merzbau, de Kurt Schwitters. A dissertação examina especialmente a produção que desde então problematizou a tradição da escultura, privilegiando as manifestações contemporâneas que derivam da tradição moderna, projetando o campo da arte para além dos gêneros artísticos fixados até então, buscando expandir a noção de escultura em termos espaciais, temporais e experienciais. Entre as décadas de 1940 e 1960, a ruptura com essa tradição culmina na radicalidade das ações corporais de Jackson Pollock, que conferem uma nova escala às pinturas; e, mais à frente, numa produção que emergia como crítica aguda ao mercado e à institucionalização cada vez mais precoce do trabalho de arte. A arte contemporânea, então, teria sua origem num processo de crítica do objeto, precipitado pelo problemas da cultura de massa, onde os trabalhos se reconhecem num mundo da cultura, mesmo ao resistirem a sua cooptação. Sem ter sido objeto de análises abrangentes, a escultura contemporânea, se é que ainda podemos denominar escultura os trabalhos produzidos a partir da década de 1960, parece ter colocado em crise a noção moderna de forma, e passa a operar num contexto ampliado, aberta ao espaço e à dinâmica cultural urbana. É nesse momento que a dissertação se aproxima das obras de Richard Serra, José Resende e Hélio Oiticica e passa a dedicar uma análise mais atenta sobre aqueles trabalhos que lidaram com uma escala ambiental, ou ainda, se aproximaram das contingências do lugar onde atuam, quer físicas, sociais ou culturais, operando próximos à poética do site specificity. / The research project analyses the directions of the modern sculptural thoughts towards an environmental scale, a process that begins in the end of the 19th Century, a moment in which Auguste Rodins The Gates of Hell modifies the classic narrative space breaking up with the premise of the monument and defend every time more an immersion of the work in the observer space. The historical vanguard period was also fundamental to rethink the boundaries between the traditional languages and the recognition of spheres that are not of fine arts ñ from the dissolution of the base in sculpture of Constantin Brancusi, passing through the renovation of the art statute of Marcel Duchamp, to the collage experiences of Kurt Schwitters Merzbau. The dissertation examines specially the production that has questioned the sculpture tradition, the contemporary manifestations that come from modern tradition, projecting the art field beyond the so far fixed artistic genders and searching to expand the notion of sculpture in terms of space and time, as well as your artistic practice significance. Between the decades of 1940 and 1960, the break with this tradition culminates in the radically body actions of Jackson Pollock that gives a new scale to paintings; and afterwards, in a production that emerged as a deep critique of the market and the every time earlier institutionalization of the art work. The contemporary art, therefore, would have its origin in a process of the object critique precipitated by mass culture problems where the works are recognized in a cultural word, even when they resist to their cooptation. Without being object of comprehensive analyses, the contemporary sculpture, if we still can denominate sculpture the works produced from the 1860 decade on, seems to have placed the modern notion of form in crisis, and started to operate in an enlarged context, open to space and to the urban cultural dynamic. It is at his moment that the dissertation approaches Richard Serra, José Resende and Hélio Oiticicas work and dedicates more careful analyses over those works that deal with environmental scale, or yet, approach either physical, social or cultural contingencies of the place in which they act, operating to the poetic of the site specificity.

A tese investiga como se apresenta o humor político do Porta dos Fundos em esquetes audiovisuais veiculadas pelo Youtube. Parte-se de um panorama sobre as audiovisualidades para atentar sobre os processos produtivos em relação com o contexto político nacional. Os conceitos de comicidade e humor são acionados a partir de Henry Bergson (1983) e Elias Thomé Saliba (2002), sendo o primeiro tomado como sistema organizador da narrativa a partir da intencionalidade de fazer rir, enquanto o segundo é definido pelo contraste entre o que é e o que deveria ser, acionando uma reflexão crítica que complementa e dá a tonalidade do gesto social empregado pelos humoristas. Para tratar sobre o humorismo audiovisual percorremos a história do riso e do escárnio com Georges Minois (2003), Roberto Elísio dos Santos e Regina Rosseti (2012), entre outros, a fim de resgatar as raízes do riso midiatizado brasileiro. O problema de pesquisa é: Como se dá o humor sobre a política na comicidade audiovisual do Porta dos Fundos? Para responder essa pergunta elencamos como objetivo geral da pesquisa descrever e analisar como se apresenta o humor audiovisual sobre a política em um canal no Youtube - o do Porta dos Fundos, explorando o objeto na relação com o campo do audiovisual nacional, com o contexto político contemporâneo e com a teoria sobre o humor e a comédia. A partir deste, estabelece-se como objetivos específicos: a) descrever as possíveis relações entre a matriz da comédia audiovisual nacional e o humor político veiculado pelo Porta dos Fundos; b) descrever e analisar como os conteúdos audiovisuais apresentam o humor sobre a política do Porta dos Fundos; c) apontar pistas que indiquem elementos de distinção do conteúdo humorístico do Porta dos Fundos no campo do audiovisual contemporâneo Entendemos que para abordar o humor sobre a política do Porta dos Fundos no Youtube é preciso contextualizar a cultura midiática e digital contemporânea, relacionando-a com o contexto político vivido no Brasil durante o período de análise, em busca de um olhar relacional que aponte pistas sobre como os agentes e os campos sociais influenciam-se mutuamente e quais marcas deixam uns sobre os outros. A epistemologia adotada é da sociologia relacional de Pierre Bourdieu (1997, 2002, 2007a, 2007b), que auxilia no tratamento dispensado ao corpus empírico de seis esquetes audiovisuais de humor sobre política veiculados pelo Youtube, entre agosto de 2012 e abril de 2017, e analisados filmicamente a partir das proposições metodológicas de Penafria (2009), Julier e Marie (2009). Como resultado encontramos marcas distintivas do humor do Porta dos Fundos sobre a política a partir das suas estratégias narrativas que privilegiam o sentido de realidade junto ao espectador; um processo produtivo colaborativo que diversifica os conteúdos e fortalece a imagem a marca; uma identidade visual (estética e linguística) mantida mesmo com o rodízio de funções e colaboradores; tudo marcando um fenômeno que emerge em um tempo de lacuna no humor crítico sobre política na TV, políticas públicas que incentivam a produção audiovisual independente e converge com a ampliação da conectividade e cultura digital no país. / The thesis investigates how the political humor of “Porta dos Fundos” in audiovisual sketches transmitted by Youtube is presented. It started by a panorama on the audiovisuals to look at productive processes in relation to national socioeconomic and political contexts. Henry Bergson (1983) and Elias Thomé Saliba (2002) trigger ehe concepts of comics and humor. The first one being taken as the system organizer of the narrative from the intentionality of making laugh, while the second one is defined by the contrast between what is and what should be, triggering a critical reflection that complements and gives the tone of the social gesture employed by comedians. To deal with audiovisual humor, we go through the story of laughter and scorn with Georges Minois (2003), Roberto Elísio dos Santos and Regina Rosseti (2012), among others, in order to rescue the roots of Brazilian disseminated laught. The research problem is: How does the political humor in the audiovisual comedy of “Porta dos Fundos”work? In order to answer this question we have as a general objective of the research to describe and analyze how audiovisual political humor is presented in a channel on YouTube – called Porta dos Fundos, exploring the object in relation to the field of the national audiovisual, with the contemporary political context and with the theory about humor and comedy. From this, specific objectives are stablished: a) to describe the possible relations between the matrix of the national audiovisual comedy and the political humor conveyed by Porta dos Fundos; b) describe and analyze how the audiovisual contents present the political humor of Porta dos Fundos; c) to point out clues that indicate elements of distinction of the humoristic content of Porta dos Fundos in the field of contemporary audiovisual We understand that in order to approach the political humor of Porta dos Fundos on Youtube it is necessary to contextualize the contemporary digital and digital culture, relating it to the actual political and economic context in Brazil during the period of analysis, searching for relational look that points out clues about how agents and social fields influence each other and which brands leave in one another. The epistemology adopted is Pierre Bourdieu's (1997, 2002, 2007a, 2007b), relational sociology, which assists in the treatment given to the empirical corpus of six audiovisual humoristic sketches transmitted by Youtube, in between august of 2012 and april of 2017, and analyzed in the movie by the methodological propositions of Penafria (2009), Julier and Marie (2009). As a result we find distinctive marks of the political humor of Porta dos Fundos from their narrative strategies that privilege the sense of reality with the spectator; a collaborative production process that diversifies the content and strengthens the brand image; a visual identity (aesthetic and linguistic) maintained even with the rotation of functions and collaborators; all marking a phenomenon that emerges in a time that lacs critical political humor on TV, public policies that encourage independent audiovisual production and converge with the expansion of connectivity and digital culture in the country.

Les infections du site opératoire (ISO) sont classées au 3ème rang des infections associées aux soins les plus fréquentes en France. Des approches épidémiologiques " classiques " de prévention ont permis une réduction des taux d'ISO d'environ 50% en 20 ans. Malgré ces progrès, les taux d'incidence et le nombre brut d'ISO restent notables en France. De nouveaux outils permettraient d'améliorer la compréhension et la prévention des ISO. Lors d'une approche clinique de la prévention des ISO, nous avons évalué l'efficacité d'éponges de collagène imprégnées de gentamicine pour la prévention des ISO chez des patients à haut risque bénéficiant d'un pontage aorto-coronarien avec double artères mammaires internes. Des Dans un second temps, une approche, épidémiologique, avait pour objectif d'étudier l'accord des hygiénistes et des chirurgiens impliqués dans la surveillance des ISO de 10 pays Européens dans le diagnostic des ISO. La finalité était d'évaluer l'intérêt de la publication des taux d'ISO dans un objectif de benchmarking. La dernière approche était comportementale. Nous avons tout d'abord réalisé une revue systématique de la littérature afin d'évaluer l'état actuel des connaissances concernant l'impact des comportements des équipes opératoires sur la survenue d'ISO ou sur des marqueurs du risque infectieux. Enfin, nous avons présenté le protocole d'une étude en cours de réalisation sur l'évaluation des déplacements des personnels durant 63 interventions de chirurgie cardiaque et orthopédique, enregistrés de manière objective et continue par l'intermédiaire d'un système automatique de capture de mouvement. Ces données seront corrélées à des marqueurs du risque infectieux. / Surgical site infection (SSI) constitutes the third most frequent healthcare associated infection in France. “Classic” epidemiological approaches have already allowed to decrease SSI rate of approximately 50% in 20 years. Despite these improvements, the incidence rate and the crude number of SSI stay important in France. New tools may improve the understanding and the prevention of SSI. In first, through a clinical approach of the SSI prevention, we have evaluated the efficacy of a gentamicin-impregnated collagen sponge reduce sternal wound infections in high-risk cardiac surgery patients. Secondly, an epidemiological approach had the objective to assess the agreement in diagnosing SSI among specialists involved in SSI surveillance in Europe and evaluate the interest of the public reporting of SSI rate in a view of benchmarking. Finally, a behavioural approach has begun by a systematic descriptive review of the literature to evaluate the current evidence regarding the influence of staff behaviours on the infectious risk in operating room. Then, we have presented the protocol of a study in progress on the assessment of movements in the operating room during 63 procedures of cardiac and orthopaedic surgery, recorded with an objective and continuous manner using a motion capture system. These data will be correlated to surrogates of the infectious risk.

Nest site selection and nesting success of plains sharp-tailed grouse were examined on the Grand River National Grassland in South Dakota during the nesting season from 2009-2012. We used conditional logistic regression to assess vegetation production, ecological site description, and landscape position on nest site selection. Two competing models regarding nest site selection: top model consisted of non-native forbs and native cool-season grasses, second best model included all grass and forb. Nine ESDs were used for nesting; loamy and clayey ecological sites most frequently used and produced the highest standing crop. Most frequent observed nest site State were Annual/Pioneer Perennial and Introduced and Invaded Grass. Top model for nest daily survival rates included litter, second-best model included ESD; second-best model showed negative effect for nests initiated in thin claypan, limy backslope, and sandy ecological sites. Based on daily survival estimate and 23-day incubation period, nests were 59% successful.

With the current upsurge of a technological era, there is an underlying global threat to the cultural development of theatre, especially opera. Therefore, there is a need for a paradigm shift that will re-imagine and transcend opera into the 21st century. Site-specific opera merges the potential of theatrical entertainment and the value of an existing site. Both the location and the performance have the ability to remove the audience from their lives and submerge them in a fantasy or created reality. With the focal approach being the interpretation of the Magic Flute Opera at a site-specific location, a concept of cultural heritage awareness is revealed. With this in mind, the preservation extends into a consideration of the existing site. The site, Fort Daspoortrand, is currently in a state of physical degradation, and the decay of heritage and cultural fabric is prominent. Thus, the potential for preservation and cultural celebration arises. It is proposed that through a site-specific opera performance of William Kentridge’s adaptation of The Magic Flute by Mozart, a sense of wareness can be created for both the site and a South African interpretation of opera. The opera will catalyse the awareness of the site, and the scenography will act as a vehicle to bring site and opera together in a visual and spatial experience. Through the merging of opera and site, the heritage and cultural significance of both entities will be explored, allowing the opportunity for life to be breathed back into both the fort and opera in general. The design intention of this project is to bring awareness to the existing fabric of the site, as well as the dramatic opportunities that the site naturally presents. In this way, the physical and cultural decay of both Fort Daspoortrand and opera are brought to the public’s attention. The intention in this creation of site awareness is to promote an afterlife for the site, by exposing its character in an attempt to ignite future development at the site once the opera has finished. Through combining opera and site, the audience will be exposed to the beauty of the site and the cultural richness of opera simultaneously. The temporary design intervention aims to strategically link the themes of The Magic Flute with the characteristics of the site to explore the relationship between narrative, fort and opera. Emphasis is placed on how to take the audience on a winding and intertwining journey of the site during the performance of the opera adaptation. The fluidity and natural progression of the audience through the site will ultimately create a reflective and emotive understanding of The Magic Flute’s theme of the journey from darkness to light. / Mini-dissertation Mint(Prof)--University of Pretoria, 2018. / Architecture / MInt(Prof) / Unrestricted