Accessibility to clean water which is necessary for a healthy lifestyle is a problem that spans the globe. Many societies that lack clean water are also without the energy resources such as electricity or gas that are used for purification. This project is on the development of a solar powered water purification system with Phase Change Material (PCM) energy storage and experimental studies on the system. Water distillation was achieved and analyses were performed on the effects of weather conditions on the distillate production. Solar systems are affected by limited sunshine which occurs only during daylight hours. A second part of the research involved adding a PCM heat exchanger to the system to extend distillation beyond the daylight hours. The analyses evaluated distillate production against outdoor conditions such as temperature, wind speed, and use of the PCM heat exchanger, to determine how they affect the performance of the system. Results show that increased outdoor temperature and clear atmospheric conditions yield greater distillate production. The effects of wind speed were less conclusive. Use of the PCM heat exchanger shifted production to later in the day, but overall, resulted in lower daily production than when the heat exchanger was bypassed. The most definite indicator of distillate production was the temperature differential between the water entering the still and the outdoor temperature.

An Attempt to Mirror the Painterly and Stillness in Autobiographical Visual Practice is a practice-as-research project consisting of a portfolio of videos, photographs, and the documentation of live performances, and a written thesis. The written part is intended to work as a supportive body of material for the portfolio – or ‘brackets’, as it will be referred in the text – revealing the creative process behind those artworks, and the central thinkers, writers and artists that are relevant to this study, as well as offering contextualisation through an exploration of the lineage of other artists and discussions within which my practice-as-research project resides. The writing is built around the idea of ‘attempts’, in a written interpretation of a method I have applied to many of the artworks. Another key word of the study, the aforementioned brackets, is inspired by Virginia Woolf’s use of brackets in her novel To The Lighthouse. In this thesis I will explain the way in which these brackets have inspired me in the creation of many of the artworks. This will also offer an insight into how I relate to the text from within a visual artistic practice generally, and how using the brackets as a concept has also become a tool for identifying relationships between the art pieces presented in the portfolio and the written thesis itself. The text also reveals the multifaceted role of the painterly within this study project. The painterly will be discussed as a poetic-atmospheric visual frame for the artworks, and will also be explored in terms of how it emerges if the movement or the moving image is slowed down, which in turn brings this painterly quality of the artwork into close parallel with the still life painting genre. Finally, I will demonstrate, through the exploration of three artists from the past – Gwen John, Helene Schjerfbeck, and Virginia Woolf – the complexity of the writings of art history, biographies, and autobiographies.

A Dissertation Submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts. / This dissertation examines Paul Cezanne's still-lifes and proposes that the interpretation of meaning in these works depends upon the analysis of their stylistic elements. In Chapter 1 it is argued that the relationship between meaning and interpretation in the discipline of Art History is a complex one. An examination of the recent theoretical literature offers valuable insights into the ways in which art historians have assessed this relationship and the ramifications not only for the discipline, but for the Interpretation of Cezanne's still-lifes. The different ways in which scholars have interpreted Cezanne's oeuvre (particularly in relation to formalist approaches) are examined in the overview of the Cezanne literature in Chapter II. It is suggested that the existing body of interpretations in the literature forms an important part of a work's meaning and that therefore, the meaning of Cezanne's still-lifes should not be considered in an historical vacuum. furthermore, it is argued that the formalist interpretation of Cezanne's still-lifes warrants reevaluation, In Chapter III selected still-lifes are analyzed. The traditional art: historical dichotomy, reflected in the Cezanne literature, between 'form' and 'content', is challenged, The genre of still-life is contextualized in relation to Cezanne's other genres to substantiate the notion of a 'drama of style' evident in the still-lifes. It is argued that a stylistic approach to the still-lifes reveals both the importance of style in the interpretation of meaning in the still-lifes and the notion of artistic process evident in these works. / Andrew Chakane 2018

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Excerpt: Seventy-five years ago this month the definitive “Appalachian” novel was published — James Still’s “River of Earth.” “Appalachian” literature did not exist then. Still and his novel essentially spawned the phenomenon of people writing consciously and reflexively about Appalachia, a storied if misunderstood American region.

Excerpt: In the final few years of his life—he died at 94 on April 28, 2001—James Still had many friends, most of them much younger than he was since he had outlived most of his contemporaries. I was one of Mr. Still’s younger, and certainly one of his newest, friends.

Excerpt: James Still (1906-2001) wrote “Heritage,” his signature poem, in 1935, and he continued to read it before audiences large and small into the 21st Century.

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Also issued as the author's thesis (doctoral--Universität des Saarlandes, 2006). / Includes bibliographical references (p. 401-428).