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2021 ◽  
Vol 46 ◽  
pp. S603-S604
Author(s):  
S. La Grange ◽  
V. Kotze ◽  
K. Pillay ◽  
C. Coetzer ◽  
S. Strauss ◽  
...  

2021 ◽  
Vol 46 ◽  
pp. S623
Author(s):  
L. Robb ◽  
G. Joubert ◽  
M. Jordaan ◽  
L. van den Berg ◽  
J. Osei Ngounda ◽  
...  

2021 ◽  
Author(s):  
Frederik Daniël Jacobus Stapelberg

Abstract Testing was performed on transported soils belonging to recently deposited sandy-silty soil deposits occurring in the Northern Cape Province, South Africa in order to determine the occurrence and order of magnitude of a collapsing sand soil structure. Various empirical geotechnical characteristics including: in situ soil profile structure description, particle grading curve and clay content, soil classification, soil density and void ratio were compared to collapse potential values determined with oedometer testing in order to judge the success with which the empirical characteristics can be utilized to predict the occurrence of a collapsible soil structure.From the results it is clear that a collapsing sand structure exists in the transported soils and the empirical descriptors mostly correctly indicate the occurrence or the particular soil structure when compared to previous studies on collapsing sands. The one descriptor which reflects a relatively poor correction between the descriptor and the soil structure (in situ soil profile structure description) is considered to be a poor indicator of the collapsible soil structure due to erroneous or poor in situ soil structure observations resulting from unfavourable local conditions namely dry, dusty soil conditions and very brief intact standup time of test pit side walls.


Author(s):  
Nkateko Nikiwe Nkunkwane ◽  
MC Fombad

Purpose: This paper investigates knowledge sharing for maternal health in one of the major public referral hospitals in South Africa–the Charlotte Maxeke Johannesburg Academic Hospital (CMJAH). Poor knowledge on maternal health continues to present a global challenge, particularly in developing countries where maternal mortality remains very high. Design/methodology/approach: A qualitative study and case study design were conducted to obtain an in-depth understanding of knowledge sharing for maternal health in one of the major public referral hospitals in South Africa. Convenience sampling of 35 pregnant women was undertaken. In-depth face-to-face interviews were employed to the point of saturation. Findings: The findings revealed elementary knowledge sharing for maternal health and several challenges to knowledge sharing. Limitations: This paper focuses on knowledge sharing at the antenatal care unit. Although effective knowledge sharing during antenatal phase may enhance post-natal care, it will have been beneficial to also understand the post-natal perspective of knowledge sharing. Furthermore, issues of representativeness may result from the use of convenience sampling. However, the purpose of this study is not to generalise the results but to provide an in-depth understanding of knowledge sharing for maternal health in a public hospital in South Africa and suggests a dynamic interactive strategy to enhance knowledge sharing that may effectively improve maternal health. Practical implication: Strategies for knowledge sharing for maternal health were established. The paper concluded that increasing knowledge sharing on safe motherhood practices would translate into safer pregnancy outcomes and would subsequently lead to lower maternal mortality. Knowledge sharing is critical in improving maternal health in a developing country like South Africa, where maternal deaths during pregnancy, childbirth and the puerperium remain a significant public health issue. Goal 3 of the 17 Sustainable Development Goals (SDGs) developed in 2015 seeks to promote good health and well-being and to reduce the global maternal mortality ratio (MMR) to fewer than 70 maternal deaths per 100,000 live births by 2030. Knowledge sharing is crucial in reducing the MMR. Originality/value: Studies conducted on knowledge sharing in the health sector have focused mainly on health professionals and the use of technology for mobile health. This paper adds to the body of knowledge-on-knowledge management and healthcare services, with specific focus on knowledge sharing and maternal care. Knowledge sharing for maternal health will reduce pregnancy, childbirth and motherhood-related health risks.


2021 ◽  
Author(s):  
MJ Booysen ◽  
Chris Abraham ◽  
Innocent Ndibatya ◽  
Arnold Rix

Minibus taxis are ubiquitous in the developing cities of the Global South. This versatile, and somewhat chaotic public transport system is now faced with the need to move to renewable energy. But the looming roll-out of electric vehicles poses a threat to the already fragile electrical grids of African cities. This chapter evaluates the energy requirements of decarbonisation and evaluates two types of data, passenger-based and vehicle-based, from research in South Africa that has modelled these taxis. Using these two data capture methods, we assess the energy requirements and charging opportunities for electric minibus paratransit in three African cities and compare the results of the two methods to assess their suitability for planning minibus taxi electrification.


2021 ◽  
Author(s):  
◽  
Fairooz Samy

<p><b>As the leading internet-distributed television platform (IDTVP) today, with over 200 millionworldwide subscribers, Netflix is a fascinating case-study through which to unpack thestrategies, innovations, and possibilities of internet-delivered television.</b></p> <p>This thesis argues that Netflix appropriates existing broadcast and premium cable networkpractices to produce original programming while using internet-originated tools, such as bigdata and algorithms, to continuously improve its interface design. The thesis demonstrateshow Netflix utilises internet discourses relating to television media, streaming, andtechnology, to contextualise subscribers’ interactions with, and consumption of, content onits platform, discursively and practically creating the ‘Netflix experience’.</p> <p>The thesis examines the ways in which Netflix supports its commissioning strategies bycontinuously developing technology that emphasizes personalisation, choice, and temporalflexibility, all while promoting its digital capabilities through self-mythologizing narratives. AsNetflix is constantly evolving in response to changes in the television industry (and is at timesinstigating these changes) this thesis includes industry discourse in the forms of pressreleases, advertising materials, and popular media journalism. Netflix’s framing withinpopular media, both through its own promotional material and across industry press,simultaneously creates, reinforces, and normalises IDTV delivery and viewing protocols.</p> <p>The thesis analyses Netflix’s use of big data and algorithms to ‘create value’ for subscribersby enhancing the user-friendliness and personalisation capabilities of its platform, both ofwhich increase viewer engagement with the Netflix interface. Also discussed are thecompany’s strategies for value creation, such as continuous playback, the skip intro feature,the ability to download episodes automatically for offline viewing, and others, all of whichincentivise temporally-flexible viewing habits, such as binge-watching. Additionally, the thesisinvestigates Netflix’s exploitation of its big data caches to market its original programmesdirectly to subscribers, circulate biased viewing figures pertaining to content on its platform,and categorise its viewers into ‘taste communities’.</p> <p>Domestically, Netflix’s role in the increasing consolidation of content owned by mediaconglomerates is discussed, notably Disney’s 2019 acquisition of 20th Century Fox and itstelevision holdings, and the subsequent effects of the deal on the licensing of Fox and Disney’sintellectual property (IP). Netflix’s upward trajectory in the United States illustrates theopenings and opportunities available to the company in the time immediately before the IDTVmodel became widespread amongst (now) multi-platform broadcast and cable networks,thanks in part to Netflix’s innovations in popularising IDTV protocols. The company tookadvantage of the US television industry’s existing economic and industrial constraints to builda catalogue of acquired content. The resulting popularity of certain (high-end serial drama)programmes (particularly those licensed from cable networks) helped Netflix to establish adomestic subscriber base while forecasting the importance of IP ownership.</p> <p>This thesis posits that the changes in the international regulation and provision of what is nowan established form of television delivery demonstrate the influence that Netflix, as thelargest purveyor of IDTV, has had in gaining entry into 190 countries over the past decade. Assuch, Netflix is an excellent representation of the international possibilities and successes ofIDTV. The thesis also interrogates how Netflix’s entry into original content commissioning hasinstigated broader changes in the legislation, commissioning, production, and reception ofIDTVP in markets such as Brazil, The United Kingdom, India, South Africa, and its domesticmarket of the United States. Internationally, this research examines Netflix’s investments ininternet infrastructure and physical infrastructure, in terms of buying its own production hubsin places like Spain, its relationships with non-US networks, and the legislative response tothe rapid growth of internationally-operating IDTVPs.</p> <p>The thesis investigates how Netflix’s willingness to outspend competitors and accrue debtallows it to build subscriber numbers, despite continuing to rely on acquired content, andincreasingly, co-produced and directly commissioned content with (non-US) networks(Dunleavy 2020). It argues that Netflix is pursuing a commissioning and branding strategy of‘international localisation’. The strategy cultivates cultural specificity in the form of locallanguage use, a story by a local writer-producer, the involvement of a local productioncompany, and partnerships with local casts and crews. This cultural specificity is thencombined with factors that allow local content to appeal to Netflix’s international subscriberbase, including accurately translated subtitling and dubbing in a variety of languages, as wellas adopting aspects of high-end serial drama programming, such as large budgets, highproduction values, and creatively-risky or adult themes. The concept of internationallocalisation is explored through the case studies of two Netflix-originated serial dramaprogrammes, Stranger Things (US) and Queen Sono (South Africa).</p> <p>Internet-delivered television is now a permanent fixture of the entertainment landscape.</p> <p>Multi-platform networks are the predominant group of television providers, with IDTVplatforms constituting an ever-growing part of these networks’ strategies. Increasing mediacompany conglomeration is going to result in the consolidation of intellectual property rightsfor programmes among an oligopoly of parent companies, making content origination evenmore crucial for television providers. These conditions occurred alongside the rise of Netflix,a company which, little more than a decade prior, was primarily a DVD rental service, andnow, in 2020, boasts availability in 190 countries. Netflix is not the ‘global network’ its CEOReed Hastings claims it to be. However, its successes and challenges uniquely represent theseismic changes in the industrial, economic, and technological circumstances of the televisionindustry over the past ten years.</p>


Author(s):  
Alouis Chilunjika ◽  
Sharon RT Chilunjika

The Zimbabwean local government environment has been affected by chronic defects in the provision of basic public services. As such, city twinning has been adopted as one of the strategies to address the impasse in service delivery as it allows for the sharing of expertise in local governance, development, strategic international relations and the enhancement of service delivery in local authorities. Using the exploratory case study research design the study explores the impact the twinning arrangement between Bulawayo City Council (BCC) and eThekwini Municipality and how it has enhanced service delivery in Bulawayo. Data was gathered from written documents, observations and in-depth interviews. The study established that the BCC-eThekwini cooperation has been very fruitful and Bulawayo City Council has benefited immensely through the exchange of ideas and information as well as technology transfer among others from this twinning arrangement. Nonetheless, it was also observed that weak legal and financial frameworks hinders the city twinning partnership from realising its full fruition. The study concluded that city twinning between BCC and eThekwini is a favourable route for creating sustainable South to South linkages that benefit developing cities. As recommendations, the article argues that there is need for clarity in defining the partnership roles and goals, community involvement as well as an enabling policy and institutional environment.


2021 ◽  
Author(s):  
◽  
Fairooz Samy

<p><b>As the leading internet-distributed television platform (IDTVP) today, with over 200 millionworldwide subscribers, Netflix is a fascinating case-study through which to unpack thestrategies, innovations, and possibilities of internet-delivered television.</b></p> <p>This thesis argues that Netflix appropriates existing broadcast and premium cable networkpractices to produce original programming while using internet-originated tools, such as bigdata and algorithms, to continuously improve its interface design. The thesis demonstrateshow Netflix utilises internet discourses relating to television media, streaming, andtechnology, to contextualise subscribers’ interactions with, and consumption of, content onits platform, discursively and practically creating the ‘Netflix experience’.</p> <p>The thesis examines the ways in which Netflix supports its commissioning strategies bycontinuously developing technology that emphasizes personalisation, choice, and temporalflexibility, all while promoting its digital capabilities through self-mythologizing narratives. AsNetflix is constantly evolving in response to changes in the television industry (and is at timesinstigating these changes) this thesis includes industry discourse in the forms of pressreleases, advertising materials, and popular media journalism. Netflix’s framing withinpopular media, both through its own promotional material and across industry press,simultaneously creates, reinforces, and normalises IDTV delivery and viewing protocols.</p> <p>The thesis analyses Netflix’s use of big data and algorithms to ‘create value’ for subscribersby enhancing the user-friendliness and personalisation capabilities of its platform, both ofwhich increase viewer engagement with the Netflix interface. Also discussed are thecompany’s strategies for value creation, such as continuous playback, the skip intro feature,the ability to download episodes automatically for offline viewing, and others, all of whichincentivise temporally-flexible viewing habits, such as binge-watching. Additionally, the thesisinvestigates Netflix’s exploitation of its big data caches to market its original programmesdirectly to subscribers, circulate biased viewing figures pertaining to content on its platform,and categorise its viewers into ‘taste communities’.</p> <p>Domestically, Netflix’s role in the increasing consolidation of content owned by mediaconglomerates is discussed, notably Disney’s 2019 acquisition of 20th Century Fox and itstelevision holdings, and the subsequent effects of the deal on the licensing of Fox and Disney’sintellectual property (IP). Netflix’s upward trajectory in the United States illustrates theopenings and opportunities available to the company in the time immediately before the IDTVmodel became widespread amongst (now) multi-platform broadcast and cable networks,thanks in part to Netflix’s innovations in popularising IDTV protocols. The company tookadvantage of the US television industry’s existing economic and industrial constraints to builda catalogue of acquired content. The resulting popularity of certain (high-end serial drama)programmes (particularly those licensed from cable networks) helped Netflix to establish adomestic subscriber base while forecasting the importance of IP ownership.</p> <p>This thesis posits that the changes in the international regulation and provision of what is nowan established form of television delivery demonstrate the influence that Netflix, as thelargest purveyor of IDTV, has had in gaining entry into 190 countries over the past decade. Assuch, Netflix is an excellent representation of the international possibilities and successes ofIDTV. The thesis also interrogates how Netflix’s entry into original content commissioning hasinstigated broader changes in the legislation, commissioning, production, and reception ofIDTVP in markets such as Brazil, The United Kingdom, India, South Africa, and its domesticmarket of the United States. Internationally, this research examines Netflix’s investments ininternet infrastructure and physical infrastructure, in terms of buying its own production hubsin places like Spain, its relationships with non-US networks, and the legislative response tothe rapid growth of internationally-operating IDTVPs.</p> <p>The thesis investigates how Netflix’s willingness to outspend competitors and accrue debtallows it to build subscriber numbers, despite continuing to rely on acquired content, andincreasingly, co-produced and directly commissioned content with (non-US) networks(Dunleavy 2020). It argues that Netflix is pursuing a commissioning and branding strategy of‘international localisation’. The strategy cultivates cultural specificity in the form of locallanguage use, a story by a local writer-producer, the involvement of a local productioncompany, and partnerships with local casts and crews. This cultural specificity is thencombined with factors that allow local content to appeal to Netflix’s international subscriberbase, including accurately translated subtitling and dubbing in a variety of languages, as wellas adopting aspects of high-end serial drama programming, such as large budgets, highproduction values, and creatively-risky or adult themes. The concept of internationallocalisation is explored through the case studies of two Netflix-originated serial dramaprogrammes, Stranger Things (US) and Queen Sono (South Africa).</p> <p>Internet-delivered television is now a permanent fixture of the entertainment landscape.</p> <p>Multi-platform networks are the predominant group of television providers, with IDTVplatforms constituting an ever-growing part of these networks’ strategies. Increasing mediacompany conglomeration is going to result in the consolidation of intellectual property rightsfor programmes among an oligopoly of parent companies, making content origination evenmore crucial for television providers. These conditions occurred alongside the rise of Netflix,a company which, little more than a decade prior, was primarily a DVD rental service, andnow, in 2020, boasts availability in 190 countries. Netflix is not the ‘global network’ its CEOReed Hastings claims it to be. However, its successes and challenges uniquely represent theseismic changes in the industrial, economic, and technological circumstances of the televisionindustry over the past ten years.</p>


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