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The Everyday Untamed
Get PDFBackground: A result of the inaugural Karavan Stories Workshop and Anthology Project, Tiger, a ferocious short story anthology, has emerged from the undergrowth. The title of the anthology, which served as the theme from which the authors developed their stories (some more literally than others), was inspired by the case in which a tigress escaped from a private farm in Gauteng, South Africa in early 2023 and remained at large for a number of days until she was cornered and euthanized. Featuring works from eleven South African authors, and ChatGPT, the stories in Tiger explore grief, the unknown and untamed, dysfunctional families and complex characters with often animalistic language that shines a light on the wild side of everyday life -and the reverse
Artificial Intelligence (AI) and Jean-Paul Sartre’s Existentialism: The Link
Get PDFBackground: The supremacy of man in the idea of existentialism positions him as the core component of nature. As the being that proposed the idea of Artificial Intelligence (AI), man is at the center of everything. The ideology of Existentialism, which champions the liberty of man to actualize his own ideas and create his essence in the world, does not believe in God. One aspect of this essence is the manifestation of AI, a creation that has made man more resourceful in his society. This paper delves into the significance of man’s creation of AI and its profound link with the philosophy of Existentialism. Drawing from a broader philosophical context, this study explores the influence of Jean-Paul Sartre’s existentialist works on Artificial Intelligence (AI) and how the latter has reflected on the nature of man. In conclusion, this paper will elaborate more on the significance of Artificial Intelligence (AI) in the nature of man, emphasizing man\u27s role in its creation
iMpuma-Koloni / Eastern Cape, Part 2
Get PDFBackground: There are two signs at the side of the road leading away from Salem, a small town in the Eastern Cape that has been at the centre of one of the most contentious land claim trials before South Africa\u27s Constitutional Court. The first reads: \u27Welcome to Frontier Country\u27. The second: \u27Potholes ahead\u27. The potholes offer themselves as further signs, but perhaps only in the way an inkblot solicits a transferential reading. What do potholes signify? Infrastructural disintegration? Erosion in the connective tissues of the region? Perhaps for some they are marks of social division associated with everything \u27the frontier\u27 has come to signify
If you love me when I’m breathing; you don’t love me when I’m dead?
Get PDFThis article looks to the form of the puppet, both an oral and aural entity, as a receptacle or instrument which allows for a ventriloquism to take place in partnership with the puppeteer. In the work of South African Handspring Puppet Company, the puppet is a receptacle for sound, but also for the human body itself – a chamber within a chamber – highlighting the instrumentalisation of the body. In this regard, the article looks to Handspring’s I Love You When You’re Breathing, particularly in reference to a comment once made by an audience member at a performance of the show that I watched in relation to the title; ‘If you love me when I’m breathing; you don’t love me when I’m dead?’ In the practice of puppetry there is a focus on the ways the puppeteer conveys life in the puppet. Here, breath is significant as a sound, but more so as a movement, passed from puppeteer to puppet, a kind of bellows or organ. The ‘life’ of the puppet is discerned through the rhythmic breathing motions of the puppeteer. Here the aural is conveyed through movement, rather than through sound itself, which is further a reminder that sound is at its core a movement anyway, a vibration. What can be opened up if we are to think the oral/aural through the puppet in its relation to movement and stillness, life and death
Elizabeth Gunner, Radio Soundings: South Africa and the Black Modern
Get PDFIn the face of the Zondo Commission’s horrific and horrifying news about the capture of state-owned enterprises such as Eskom, Prasa, and SABC, commentators claim the capture was the outcome of Jacob Zuma’s ‘nine squandered years’. The same capture similarly happened under apartheid. Furthermore, the apartheid state wielded considerable control and regulation over state firms through its regulatory and control mechanisms. During apartheid South Africa, prior to the years of what we now term state capture, a special capture of the Black people’s voice occurred, as did a special capture of the auditory, a capture of SABC radio sound by apartheid authorities. This was a state capture of a different kind, one meant for control rather than corruption. As a state-owned corporation, the SABC, I would argue, was likewise captured by the apartheid regime with this level of control. Radio capture became a significant instrument for the apartheid regime as they sought to dominate the Black community through domination rather than consent
Iingoma Zomzabalazo in Conversation: An Archival Engagement with Recordings of Liberation Songs
No full textThis text is a remix of an archival engagement with recordings/performanc- es of ‘freedom songs’ or ‘liberation songs’ in a south or southern African context. The authors began this collaborative research project as part of a course in the Masters in History degree programme at the University of the Western Cape (UWC). The essay includes a re-edited, updated transcript of dialogue the authors shared along with two mix(tap)es they produced together. The conversation speaks of songs as archives, archives of song(s), and memory/ies pertaining to anti-Apartheid struggle and ongoing Fallism
Our Stories: Cartography of a Conflict
Get PDFThis photo-essay, entitled ‘Our Stories: Cartography of a Conflict’, is born from the fieldwork carried out in the scope of the research ‘Past, Present and Future in the Voice of Women and Girls Affected by the Conflict in Cabo Delgado: A Feminist Analysis’, as a way of naming and disseminating the diversity of voices of displaced women, and broadening the visibility of their stories, which have very often been reduced to statistics. The aim of this article is to share their perceptions and demands, their stories and journeys in search of security and possible horizons for their re-existence. This photo-essay shows that women displaced and affected by the conflict need to be named, singularised in their aspirations, needs and struggles. Their life stories are the reason for this work. It is their pain and resilience, their desires, their invisible and visible powers, their strategies for rebuilding their lives, families and communities that we want to make known. Their voices need to be heard, read, understood and placed at the centre of all governmental and civil society interventions for reconstruction, humanitarian response and peacebuilding in Cabo Delgado. Each woman participating in this photo-essay has chosen to share her story and her face, and has decided how to be photographed and represented, with the desire that somehow their trajectories become sources of direct knowledge to guide the paths to Peace in the province. They want to be known and recognised in their dignity, in their determination and perseverance, as well as in their deepest needs. The story of each woman shared in this article is a local and national reference to build a nonviolent future in Mozambique
Time Piece
Get PDFI’ve never believed in setting the alarm clock early and then snoozing it, and snoozing it, and snoozing it. I calculate to the minute the time I need to get ready at full speed and then set the alarm to the very last second before. I like to be surrounded by time: a clock in every room and one for each veranda. I like to forget time: don’t wear a watch on the weekends, put the cell phone aside. I need the calendar alerts to tell me what to do next. I hate the calendar alerts telling me what to do. I set them faithfully; I grumble at them when they buzz
