This thesis document seeks to find a common thread between three of my plays; The Tides of Aberdeen, The Death of Beth, and Highway Play, written during my MFA program at The University of Texas at Austin. Each play deals with the theme of disappearance in a different way. The lens with which I will examine each play can be defined as “the presence of absence”. I define the presence of absence as having three necessary elements; a liminal space, a palpable void and an unseen tension. The essay also deals with the presence of absence in The Walls by Griselda Gambaro. By defining the presence of absence and how it works in each of my plays I hope to develop a rewriting strategy that incorporates structuring a plot. Also included in this thesis document are the three plays I examine in my thesis, The Tides of Aberdeen, The Death of Beth and Highway Play. / text

Photography conveys informative data, aesthetic value, and a conceptual message very much like graphic design. In the hands of the photographer, the viewfinder of a camera becomes an editing tool. Editing by point of view, use of color and cropping determines a great deal about the communication made by imagery. In my creative project, I will explore photography as a means to generate form, concept, and content. As a result of this exploration, I expect to find new ways of approaching graphic design problems. My goal is to develop themes that combine aspects of photography and graphic design. Themes could derive from broad issues like social statements, cultural phenomena, or mechanical effects, through the use of the capabilities of the camera, timing, lighting, or framing. Methods of editing photography such as, cropping, retouching, and splitting provide opportunities to experiment with making messages that rely on images alone. Another level of experimentation will be using typography in response to images.

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In this article I examine the representations of South African Indian women in Farida Karodia's Daughters of the Twilight and Shamim Sarif's the world unseen. My contention is that each author chooses a different mode of representation and that certain features of these representations suggest both the different relationship each author has with South Africa and the differences in the times of production of the novels. Thus while both novels are set in the 1950s, Karodia, whose site of enunciation is the 'interregnum' in the 1980s, imagines the agency of her women quite differently from Sarif, who writes from a 'post-anti-apartheid' site of enunciation in the late 1990s. I analyse and compare the relationships between characters (men and women; women and women) and look at the cultural and political significance of mixed-race figures, concentrating on uncovering the mechanisms of power and their effects. I read these against a politico-historical context of the setting and that of the times and places of production. / Thesis (M.A.)-University of Natal, Durban, 2003.

Southern right whale vocalisations recorded in Walker Bay, South Africa, between June and November 1999, were analysed to investigate the acoustic repertoire, the relationship between calling behaviour and whale presence, the proportions of vocal and silent whales, and of recorded calls from unseen whales, and the evidence for vocal individuality. This marks the first study of right whale vocalisation in South African waters. A simple matrix system with the axes acoustic contour and onset frequency described twelve call types. Analysis of call use over time indicated that some calls, as well as broadband gunshots, clustered strongly in bouts of differing lengths, and that their relative use varied over the season; the repertoire and its classification was compared with other accounts of right whale vocalisation [chapter one]. A generalised linear model explained the variation in the overall call rate in terms of the numbers of whales present, month and wind direction. The overall call rate, for each month and in all wind conditions, rose with increasing whale numbers to a plateau at between ten and fifteen whales, and then declined as whale numbers rose further, suggesting that the social motivation for vocalising was progressively reversed. An inverse linear relationship between call rate per whale and whale abundance was clearly demonstrated over the whole season, indicating that call rates were unreliable as an indicator of whale numbers [chapter two]. A dual-axis, three-element hydrophone array suspended at 5m from floating buoys was designed to assign whale vocalisations to calling whales. The array was calibrated with an overall mean error of 3°. Bearings to calling whales were calculated using correlelograms, and compared with the observed positions of whales. On average 31% of low up (upwardly inflected) calls and 11% of medium and high down (downwardly inflected) calls came from whales not sighted from the boat; up to just under half of the whales sighted from the boat were silent. This indicates the importance of integrating visual and acoustic data when estimating whale numbers [chapter three]. In characterising individuality in vocalisations, we used cluster analysis of acoustic properties of whale calls to derive the Euclidean distances (a measure of similarity) between each possible pair of calls within a continuous recording session. Calls clearly from different whales (distant call pairs) were more dissimilar than calls possibly from one whale (‘close’ call pairs), lending support to the hypothesis of vocal individuality. The similarity between ‘close’ up calls was greatest when the calls were within 0.5 minutes of each other, and declined progressively, up to a separation of 6.5 minutes, as the likelihood of both calls being from one whale declined, indicating individual bout-calling. Medium and high down (downwardly inflected) calls, associated with surface active groups (SAGs), and thought by other researchers to be produced by the focal female, were more similar within any given SAG than when compared across SAGs. This evidence strongly suggests that southern right whales produce individually distinctive vocalisations [chapter four]. / Thesis (PhD)--University of Pretoria, 2010. / Zoology and Entomology / unrestricted

I performed the role of Brick Pollitt at Lake Mirror Theatre in Lakeland, Florida from April 20- April 30 2006. The role of Brick Pollitt provided me with several acting challenges as well as multiple subjects to research. The most challenging aspects of portraying the character of Brick Pollitt are his alcoholism, issues of sexuality, and tormented familial relationships. Brick Pollitt journeys in the period of one day through major challenges in two key relationships. He moves from dominance in his relationship with Maggie to capitulation and from isolation in his relationship with Big Daddy to mutual understanding. Brick's relationships are further complicated by questions surrounding his recently deceased best friend Skipper and drives (alcoholism) that may be perceived as self destructive. My preliminary work has led me to believe Brick is in search of peace ('the click') in a tormented life (Williams, Cat 2.47). The nature of the torment needs further research for definition. Some critics argue Brick's sexuality is ambivalent, and he is repressing homosexual drives. Equally possible is arguing the homosexuality was restricted to Skipper. Making a decision about the definition of this relationship is key to making choices within the play because the friendship was so important to Brick's perception of himself. Brick believed his relationship was the "one true and pure thing" in a life filled with "mendacity" (Williams, Cat 2.50). 'Mendacity' is Bricks reference to his disgust with "lyin' an' liars' (Williams, Cat 2.50-51). He is lost without this anchor for his life and it has impacted his ability to interact with the world around him. Determining Brick's sexuality in my portrayal will be central to my process while I also embrace research into related areas of behavior. To supplement my research of alcoholism and Brick's sexuality, the following topics: -A Psycho-Analytical study of the character Brick Pollitt and his "archetypal" relationships with Maggie, Big Daddy, Skipper, Gooper, and his place in society. -The evolution of the character Brick Pollitt through various scripts and screenplays. From Williams's first script through to dealing with the Hays Code. A study of Tennessee Williams life history and the influence on the play. -The history of Cat on a Hot Tin Roof from its Morosco Theatre Broadway debut in New York City on March 24, 1955, followed by its film release in 1955 starring Paul Newman, Burl Ives, and Elizabeth Taylor. Any successful portrayal of Brick Pollitt in Cat on a Hot Tin Roof demands intense focus to individual relationships within the ensemble. The central theme of the play is 'mendacity' (deceit) (Williams, Cat 2.50). Brick uses this word to describe his disgust, but the 'mendacity' of his human relations in the aging and decaying Southern society is what troubles him (Williams, Cat 2.50). Discovering the ties between family, 'mendacity', and society are relevant to the execution of the play (Williams, Cat 2.50). I believe depiction of Brick Pollitt in this Pulitzer Prize winning American Classic will best present my abilities achieved in the Master of Fine Arts Program

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Francoise Vergés comments in her essay Let’s Cook! that “one could write the history of a people, of a country, of a continent by writing the history of its culinary habits” (250 ). Vergés here refers to the extent to which food can be seen to document and record certain events or subjectivities. Exploring a wide range of texts spanning the late 1800s up to the post-apartheid present, this thesis focuses in particular on the ways in which “spice” as commodity, ingredient or symbol is employed to articulate and/or embed creole and diasporic identities within the South African national context. The first chapter maps the depiction of the “Malay” figure within cookery books, focussing on the extent to which it is caught up in the trappings of the picturesque. This visibility is often mediated by the figure’s proximity to food. These depictions are then placed in conversation with the conceptual artist Berni Searle’s photographic and video installations. Searle visually interrogates the stagnant modes of representation that accrue around the figure of the “Malay” and moves toward understandings of how food and food narratives structure cultural identity as complex and mutable. Chapter two shifts focus from the Cape to the ways in which “Indian Cuisine” became significant within the South African context. Here the Indian housewife plays a role in perpetuating a distinctive cultural identity. The three primary texts discussed in this chapter are the popular Indian Delights cookery book authored by the Women’s Cultural Group, Shamim Sarif’s The World Unseen and Imraan Coovadia’s The Wedding. Indian Delights. All illustrate the extent to which the realm of the kitchen, traditionally a female domain, becomes a space from which alternative subjectivities can be made. The kitchen as a place for cultural retention is explored further and to differing degrees in both The Wedding and The World Unseen. Ultimately, indentifying cultural heritage through food enables tracing alternative and intersecting cultural identities that elsewhere, are often left out for neat and new ethnic, cultural or national identities. The thesis will in particular explore the extent to which spices used within creole and/or diasporic culinary practices encode complex affiliations and connections. Tracing the intimacies and the disjunctures becomes productive within the postapartheid present where the vestiges of apartheid’s taxonomical impetus alongside a new multicultural model threaten to erase further the complexities and nuances of everyday life. / AFRIKAANSE OPSOMMING: In haar artikel Let’s Cook! wys Francoise Vergés daarop dat die geskiedenis van ‘n mens, ‘n land of selfs ‘n kontinent saamgestel sou kon word deur te skryf oor die geskiedenis van hulle kos en eetgewoontes (250).Vergés skep hier ‘n besef van individuele en sosiale identiteit wat deur kos geleenthede vasgevang kan word. Deur bronne vanaf die laat 1800’s tot die postapartheid periode te bestudeer, fokus hierdie navorsing spesifiek op die wyse waarop speserye as kommoditeit, inhoud of simbool gebruik word om die kreoolse en diasporiese identiteite in Suid Afrika te bevestig of te bevraagteken. Die eerste hoofstuk lewer ‘n uiteensetting en beskrywing, soos verkry uit kookboeke, van die stereotypes wat vorm om die Maleise figuur. Daar word konsekwent gefokus op die mate waarin die sigbaarheid van die Maleise identiteit verstrengel word in ‘n bestaande raamwerk van diskoerse. Die Maleise figure word dikwels meer sigbaar in die konteks van kos en eetgewoontes. Berni Searl se fotografiese en video installasies word gebruik om hierdie stereotiepiese visuele kodes te bevraagteken. Searle ontgin die passiewe wyse waarop die Maleise persoon visueel verbeeld word en beklemtoon dan hoe kos en gesprekke oor kos die kulturele identiteit kompleks en dinamies maak. Hoofstuk twee verskuif die klem vanaf die Kaap na die wyse waarop die Indiese kookkuns identiteit kry in die Suid Afrikaanse konteks. Die fokus val hier op die rol van die Indiese huisvrou en haar kombuis in die bevestiging en uitbou van ‘n onderskeibare kulturele identiteit. Die drie kern tekste wat in hierdie hoofstuk bespreek word is die wel bekende en populere Indian Delights kookboek wat saamgestel is deur die Women’s Cultural Group, Shamim Sarif se The World Unseen en Imraan Coovadia se The Wedding. Indian Delights toon verder die mate waarin die kombuis as primere domein van die vrou, ‘n ruimte bied vir die formulering van alternatiewe subjek posisies. Die kombuis bied ook geleentheid vir inherente subversie wat verder en op alternatiewe wyse ontgin word in die bronne The Wedding en The World Unseen. Deur kos te gebruik om kulturele identiteit te verstaan bied ook die geleentheid om kulturele oorvleueling te verstaan al mag sommige groepe beskou word as onafhanklik in hul oorsprong en identiteit. Hierdie navorsing gee spesifiek aandag aan die mate waarin speserye en die gebruik daarvan in kreoolse en diasporiese kookkuns die kompleksiteite, soortgelykhede, verskille en misverstande reflekteer. Dit is veral waardevol om te let op soortgelykhede en verskille gegee dat die apartheidstaksonomie van die verlede en die huidige multikulturele model die rykheid en subtiele nuanseerings van die daaglikse bestaan verder kan erodeer.

Every day we are exposed to huge amounts of visual stimuli (scenes). However, i tis not yet clear how accurately these scenes are stored and remembered, and what is the role of detail relative to the memory for the whole image. More specifically, to what extent the details are remembered and to what extent we extrapolate the unseen content from the presented details. We used fragmented scenes (broken to 4x4 grids) to investigate this question. Fragmented scenes were composed of three different theme categories (indoor, natural, man-made), each with different number of presented patches (3, 5 and 8). Our main research question is, whether there is any relationship between the number of presented patches and the ability to recognize which patches were presented and which were not (but still patches from the same photograph). In analysis we focus on Signal Detection Theory characteristics, mainly memory sensitivity (d') and bias. We run two experiments and in both the highest scores for (d') were for 3 patches (Exp.1: d'(n3) = 0,67; Exp.2: d'(n3) = 0,66) with bias towards negative answers (Exp.1: c(n3) = 0,27; Exp.2: c(n3) = 0,16). For 5 and 8 patches the (d') was lower (Exp.1: d'(n5) = 0,35; d'(n8) = 0,34; Exp.2: d'(n5) = 0,39; d'(n8) = 0,41) and in the same time bias was towards positive answers...

This Master of Fine Arts thesis is divided into four main sections:FAITH and DISBELIEF: In which I reckon with the implications of faith versus rationality as a secular nontheistic artist. IDEAS: The central locus of my work is a place of indeterminacy between what is known/familiar and what is just one step outside of that. This has nothing to do with mysticism, science fiction, or anything else unmoored from established fact. Section also touches on the particular vantage of a female artist with working class roots.THE WORK: Selection of work made during graduate school, and the the guiding thoughts behind each.EMPTINESS, STILLNESS, ABSENCE, GHOSTS, DOUBT: A discussion of influential artists and ideas.

In this thesis I present new insights into aspects of Peter Guthrie Tait's life and work, derived principally from largely-unexplored primary source material: Tait's scrapbook, the Tait–Maxwell school-book and Tait's pocket notebook. By way of associated historical insights, I also come to discuss the innovative and far-reaching mathematics of the elusive Frenchman, C.-V. Mourey. P. G. Tait (1831–1901) F.R.S.E., Professor of Mathematics at the Queen's College, Belfast (1854–1860) and of Natural Philosophy at the University of Edinburgh (1860–1901), was one of the leading physicists and mathematicians in Europe in the nineteenth century. His expertise encompassed the breadth of physical science and mathematics. However, since the nineteenth century he has been unfortunately overlooked—overshadowed, perhaps, by the brilliance of his personal friends, James Clerk Maxwell (1831–1879), Sir William Rowan Hamilton (1805–1865) and William Thomson (1824–1907), later Lord Kelvin. Here I present the results of extensive research into the Tait family history. I explore the spiritual aspect of Tait's life in connection with The Unseen Universe (1875) which Tait co-authored with Balfour Stewart (1828–1887). I also reveal Tait's surprising involvement in statistics and give an account of his introduction to complex numbers, as a schoolboy at the Edinburgh Academy. A highlight of the thesis is a re-evaluation of C.-V. Mourey's 1828 work, La Vraie Théorie des quantités négatives et des quantités prétendues imaginaires, which I consider from the perspective of algebraic reform. The thesis also contains: (i) a transcription of an unpublished paper by Hamilton on the fundamental theorem of algebra which was inspired by Mourey and (ii) new biographical information on Mourey.