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Thesis (MA(VA))--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis investigates adults who play. Through my investigation, I discovered that play for adults is not distraction or a waste of time as is generally accepted. It is a basic need and necessary for survival. Although there are different forms of play, such as sport matches, hobbies and gambling, I specifically focus on play where objects can be created. This type of play is inherently more creative and stimulates lateral thinking. In play there is a freedom and safe environment which is not necessarily tied to reality. At the same time it is a self-reflective discovery process which stimulates brain activity. In my practice I use plastic bags as an accessible and malleable material to design and make contemporary jewellery. It is a way to act as an active agent in the world, rather than a passive consumer. The discussion of my art pieces forms the primary research of the thesis and is supported by theoretical research. In the process of making a deeper understanding and knowledge is extracted, which can be established through ritual play. New connections are formed in the brain and contrasting ideas can be linked which would otherwise not have happened. Play has value because it does not only stay in ‘play state’. It can spill over to the confrontation, questioning and uniting of the sociological, economical, cultural and political contrasts in my immediate South African environment. Consequently play contributes to our ability to adapt, process everyday contradictions (such as social inequality) and find creative solutions. Furthermore, it possesses the potential to contribute to our social wellbeing, happiness, trust, the will to share and to live empathetically. / AFRIKAANSE OPSOMMING: Hierdie tesis handel oor volwassenes wat speel. Deur my ondersoek ontdek ek dat spel vir volwassenes nie afleiding of ʼn mors van tyd is soos algemeen aanvaar word nie. Dit is ʼn behoefte en noodsaaklik vir oorlewing. Alhoewel daar verskillende vorme van spel is, soos byvoorbeeld sportkragmetings, stokperdjies, dobbelary, fokus ek spesifiek op spel waar objekte gemaak word. Dié tipe spel is inherent kreatief en stimuleer laterale denke. In spel is daar is ʼn vryheid en veilige ruimte wat nie met die werklikheid verenig hoef te word nie, maar terselfdertyd is dit ʼn self-refleksiewe ontdekkingsproses wat breinaktiwiteite verhoog. In my praktyk maak ek gebruik van plastieksakke as toeganklike en vervormbare materiaal om kontemporêre juweliersware te ontwerp en te maak. Dit is ’n manier om as ʼn aktiewe agent in die wêreld op te tree, eerder as ’n passiewe verbruiker. Die bespreking van my kunswerke vorm die primêre navorsing van die tesis en word ondersteun deur teoretiese navorsing. In die maakproses word daar ʼn dieper begrip en kennis ontgin wat vasgelê kan word deur rituele spel. Nuwe konneksies word in die brein gevorm en kontrasterende idees kan verbind word wat nie andersins sou plaasvind nie. Spel is waardevol omdat dit nie net in die ‘spel toestand’ bly nie. Dit kan oorspoel na die konfrontasie, bevraagtekening en vereniging van sosiologiese, ekonomiese, kulturele en politiese kontraste in my onmiddellike Suid-Afrikaanse omgewing. Gevolglik dra spel by tot ons vermoë om aan te pas, alledaagse teenstrydighede (soos sosiale ongelykheid) te verwerk en kreatiewe oplossings te vind. Dit besit verder die potensiaal om by te dra tot ons sosiale welstand, gelukkigheid, vertroue, die wil om te deel en empaties te lewe.

This master's report addresses the conceptual and material investigations that were explored within my artistic research made at the University of Texas at Austin between 2011 and 2014. These works are a confluence of adornment, sculpture and installation art. These pieces incorporate ancient and contemporary metalworking techniques with raw, organic material. The notion of elegant ornamentation is expanded beyond the body into the adornment of architecture. The potential for transformation and reinvention within found elements is explored within this work. The natural resources I work with have gone through a cycle, which is interrupted when the objects are removed from the earth. I see my process in relationship to alchemical concepts of transmutation. Through manipulation, common matter evolves into precious material. The refined, meticulous craftsmanship conveys a sense of reverence and honor towards the common material. This intervention with the material is an act of preservation and veneration. This work explores my sense of intrigue about the extraordinary potential of mundane materials, and investigates conventional notions of material value. / text

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

There are many kinds of legal addresses in the private sphere of a person, having different legal effects and treatments. In that line, the present paper will analyze the concept of tax address. For that purpose, first the concept of address will be introduced, then it’ll focus on tax address, to finally see the treatment of the address in the Tax Code. To finish, both Not Found and Not Been Adress will be analyzed, and so the tax consequences of each one. / Existen muchos tipos de domicilios en la esfera privada de una persona, teniendo diferentes efectos y tratamientos legales. En ese sentido, el presente artículo analizaremos el concepto de domicilio fiscal. Para ello, primero se introducirá el concepto de domicilio, centrándonos luego en el domicilio fiscal, para finalmente ver el tratamiento del domicilio en el Código Tributario. Para finalizar, se analizará el caso del Domicilio No Hallado y No Habido, así como las consecuencias tributarias de cada uno.

This paper reviews the osteological material from birds which are found in the boat graves from Valsgärde in Sweden. Based on my own work with boat grave number 13, I have studied the avian bone material to find out what kind of bird species there are in the grave. Birds have a significant meaning in many religions from all around the world and are symbolic for different kinds of beliefs. Although many written sources from the past indicate the cultural importance of birds, there is still little zooarchaeological research done in the subject of bird findings in graves. The boat graves from Valsgärde is from the Vendel period about 550–800 AD. My interest with the species analysis is that it furthermore will lead to discussions about interpretation of the graves. I want to examine questions like what birds of certain species can tell about the individual that the grave belongs to. For example, findings of predatory birds often refer to wealth, due to fact that it’s difficult to raise them in captivity. This is an interesting fact that should be consider when a grave is examined, because it reveals many more questions. Also, I want to examine how birds at that time were used in everyday life, and if there were any other practices concerning birds like for example hunting.

Made available in DSpace on 2016-06-02T20:23:13Z (GMT). No. of bitstreams: 1 4661.pdf: 1097916 bytes, checksum: c482bfce0e9225af830987ef6b3c8cac (MD5) Previous issue date: 2012-05-08 / A conceptual overview about documentaries made from archival footage, named foundfootage films. The main reference for the analysis of cinematographic production for the period prior to the year 1960 is the book Films Beget Films, published in 1964 by the American researcher Jay Leyda. This essay seeks to complement the research of Jay Leyda addressing aspects of the biography and work of American filmmaker Emile De Antonio, pointing out the relevance of your audiovisual production in the field of documentary from the use of archival material. The documentary In The Year of the Pig (1968) and his fragmentary, enigmatic and somewhat didatic historical narrative, are subjected to analysis. The goal of this study is an approximation of the De Antonio`s narrative with the concept of historical allegory in the film, according to Brazilian researcher Xavier, based on the ideas of Walter Benjamin on modernity and the role of allegory in the process of reinterpreting history and culture. / Um panorama conceitual sobre filmes documentais realizados a partir de images de arquivo, os chamados found-footage films. A principal referência para análise da produção cinematográfica do período anterior aos anos 1960 é o livro Films Beget Films, publicado em 1964, pelo pesquisador norte-americano Jay Leyda. Esta dissertação procura complementar a pesquisa de Jay Leyda com uma abordagem sobre aspectos da biografia e da obra do cineasta norte-americano Emile De Antonio, evidenciando a relevância de sua produção audiovisual no campo do documentário, a partir da utilização de materiais de arquivo. O documentário In The Year of The Pig (1968) - sua narrativa histórica fragmentária, enigmática e pouco didática - é submetido à análise. O objetivo desta pesquisa é uma aproximação das características narrativas de De Antonio com o conceito de alegoria histórica no cinema, segundo o pesquisador brasileiro Ismail Xavier, com base nas ideias de Walter Benjamin sobre a modernidade e o papel da alegoria dentro do processo de reinterpretação histórica e cultural.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2017-08-09T18:27:14Z No. of bitstreams: 2 Dissertação - Roniery Rodrigues Machado - 2017.pdf: 2857202 bytes, checksum: 2397fe6c29cfdd810ac90f6cdb6d0048 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-08-10T13:31:41Z (GMT) No. of bitstreams: 2 Dissertação - Roniery Rodrigues Machado - 2017.pdf: 2857202 bytes, checksum: 2397fe6c29cfdd810ac90f6cdb6d0048 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-08-10T13:31:41Z (GMT). No. of bitstreams: 2 Dissertação - Roniery Rodrigues Machado - 2017.pdf: 2857202 bytes, checksum: 2397fe6c29cfdd810ac90f6cdb6d0048 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-07-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Interface's study between state law and agrarian conflicts Discusses the process by which the peasants work out a conception of law in situations of conflict and operate this design for the constitution of your identity as a social subject. It also discusses the dialogue between this law's constitutions process and the interface with the critical law, in particular, “Law Found on the Street” and “Juridical Pluralism”. The basic problem of this work is, therefore, the land’s right constitution process by the peasants and their relationship with the State, in an interface with the expressed critical law in the formulations of “Law on the Street” and “Juridical Pluralism”. The method used in the research is the dialectical historical materialist critical. The study has as sources a bibliography and documents reflection on the theme, of social movements in which a conception of struggle and law is expressed. / Estudo das interfaces entre o direito estatal e os conflitos agrários. Aborda o processo pelo qual os camponeses elaboram uma concepção de direito nas situações de conflito e operam esta concepção para a constituição da sua identidade como sujeito social. Discute também o diálogo entre este processo de constituição do direito e sua interface com o direito crítico, em especial, o Direito Achado na Rua e o Pluralismo Jurídico. O problema base deste trabalho é, portanto, o processo de constituição do direito à terra pelos camponeses e sua relação com o Estado, numa interface com o direito crítico expresso nas formulações do Direito Achado na Rua e o Pluralismo Jurídico. O método usado na pesquisa é o materialista histórico crítico e dialético. O estudo tem como fontes uma reflexão da bibliografia sobre o tema e documentos dos movimentos sociais em que é expressa uma concepção de luta e direito.

Submitted by Giovanna Brasil (1154060@mackenzie.br) on 2017-09-29T20:35:40Z No. of bitstreams: 2 André Luíz Olzon Vasconcelos.pdf: 1771296 bytes, checksum: fabca89396c43432ea1d1a5c05ac70c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-10-24T17:17:30Z (GMT) No. of bitstreams: 2 André Luíz Olzon Vasconcelos.pdf: 1771296 bytes, checksum: fabca89396c43432ea1d1a5c05ac70c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-24T17:17:30Z (GMT). No. of bitstreams: 2 André Luíz Olzon Vasconcelos.pdf: 1771296 bytes, checksum: fabca89396c43432ea1d1a5c05ac70c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-04 / Universidade Presbiteriana Mackenzie / This thesis discusses and analyzes particularities and sound nuances present in essay films, demonstrating the aesthetic uniqueness of this type of contemporary audiovisual production. It is noticed that the debate about the essay-film has deepened in the questions related to the image, thus, the work sought to organize the international and national bibliography on the subject, evidencing the absence of approaches in the sonic field and bringing a questioning that dialogues and contributes to the discussions about sound in the cinema. It is an interdisciplinary work that involves sound language in the audiovisual field and the technologies that produce it. / Essa tese discute e analisa particularidades e nuances sonoras presentes em filmes-ensaio, demonstrando a singularidade estética desse tipo de produção audiovisual contemporânea. Percebe-se que o debate sobre o filme-ensaio tem se aprofundado nas questões referentes à imagem, assim, o trabalho buscou organizar a bibliografia internacional e nacional a respeito do assunto, evidenciando a ausência de abordagens no campo sônico e trazendo um questionamento que dialoga e contribui com as discussões sobre o som no cinema. Trata-se de um trabalho interdisciplinar que envolve a linguagem sonora no âmbito audiovisual e as tecnologias que a produzem.