Faculty of Humanities (ETDs)

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A computational study of media bias in South African online political news reporting over the period 2021 - 2023
(University of the Witwatersrand, Johannesburg, 2024) Ngwenya, Nonhlanhla Nomusa; Alence, Rod
The study examined the presence of tonality bias in South African political news reporting over the period 2021 until mid-2023. The study employed the methods of the Lexicoder Sentiment Dictionary, a lexical-based method, and Latent Semantic Scaling, a semi-supervised machine learning method. Sentiment was utilised as a proxy for tonality. Online commercial media publishers were contrasted against the state-owned news publisher to ascertain how online news reporting contributed to shaping the national agenda, and the framing of political actors and their respective political parties. The Lexicoder Sentiment Dictionary and the Latent Semantic Scaling evidenced that commercial media publishers exhibited positive tonality bias for the Democratic Alliance during the 2021 Municipal Elections. South African media publishers were found to exhibit consistent negative tonality bias when reporting on protest action. The state-owned media publisher was found to drive a pro ruling party sentiment whereas commercial media publishers’ sentiment was anti- populist and agenda-setting. The congruency in political news reporting gave grounds to the call for diversity in publishing
Re-imagining African Storytelling Conventions within the Cinematic Virtual Reality Medium
(University of the Witwatersrand, Johannesburg, 2024) Langa, Nkateko Nicole; Dladla, Tiisetso
In an advancing technological world, it is far-reaching to engage with the implications of the codes and conventions (re)produced by creative practitioners because of the indefinite possibilities accessible to them. Over the recent years, Virtual Reality (VR) in a cinematic context has orientated itself as a contemporary film practice enabling user agency through its immersive and interactive properties. This dissertation through an Afrocentric framework critically explores the representation and consumption of African culture(s) and strengthening existing cultural experiences through the VR medium. It remains rooted in indigenous knowledge systems and knowledge production located as Afrocentric beyond the African continent. This study manifests as a creative output, a VR documentary titled, AFRICA 360. Moreover, this research addresses the representation of culturally rooted storytelling through a case study of the Tsonga ethnic group and its portrayal within VR. The study of the Tsonga people in South Africa is essential as they are a minority group that is underrepresented, stereotyped and marginalized. It further explores existing African storytelling conventions and how they can be re-imagined in the future. Insight offered from interviews with African VR experts invites a discourse around African VR cinema and innovative storytelling. Additionally, the study examines the representation of African women in VR cinema through a techno-feminist perspective seeking to understand the mutual inclusivity of technology, gender and women. The impact of the historical and contemporary portrayals of VaTsonga women is analysed in relation to its culturally representative influence on empowering African VR narratives. 11 This study uncovers that Cinematic Virtual Reality (CVR) particularly in an African context may be strategically employed for the purpose of although not exhaustive knowledge re- discovery, cultural and heritage preservation, accessing African environments and to deconstruct long standing stereotypes and inaccurate representations to promote gender equality and social inclusion. Cultural representation brings to life aspects of culture that may be fading or misunderstood, allowing them to be experienced by a new generation and preserved for the future. Contemporary representations of culture offer diversified portrayals that resonate with audiences because of their creative adaptations which foster a renewed sense of pride and identity. And lastly, interviews with VR experts reveal how African CVR conventions are presently being re-imagined, drawing from select film texts. Re-imagined practices include: producing local content which caters for global audiences through ‘glocalization’, developing narratives which claim to be radically compassionate rather than empathetic, and exploring storylines inspired by African mythology and history. This study advocates for the possibility for the development of an identifiable and distinct African VR cinematic experience. It will assist in the formulation of a progressive cinematic language and grammar for the making of authentic and decolonised African VR story.
The usability of cross-device controllers
(University of the Witwatersrand, Johannesburg, 2024) Nkosi, Nhlanhla Lucky
Many digital platforms require a controlling device for people to interact with them. Examples include TVs with remotes, gaming consoles with controllers and computers with a keyboard. The systems are tightly coupled with their interfacing devices (controller). This coupling leads to unnecessary toxic electronic waste, increases the entry cost to use the digital platforms and often excludes people with niche accessibility needs. This research proposes the first step in assessing the feasibility of decoupling core platforms and controllers by investigating the impact that reusing controllers across different applications, for which they are not intentionally designed, would have on the User Experience. The mixed-method study uses McNamara and Kirakowski's 2006 theoretical framework of understanding Human-Computer Interaction (HCI) to assess research participants’ experience of using three different controllers to interact with two digital products. The study found no significant degradation on the HCI when participants used different controllers. Instead, the results proved that non-conventional controllers enhanced some elements of the participants’ experiences, such as effectiveness. The findings highlight the subjective nature of HCI and, by extension, the need for industry-wide standardisation of interfacing between controllers and platforms to drive innovation in the controller space, which will ultimately lead to better HCI.
Exploring the relevance of Garrett's elements of UX design in contemporary design practices through a local Fifa (EA) esports mobile app prototype
(University of the Witwatersrand, Johannesburg, 2024) Mjindi, Mathew
User Experience (UX) design is a constantly evolving field. This factor requires designers to continually review UX frameworks and assess whether they still meet the demands of advances in technology and user needs. The study focuses on one of the prominent foundational UX frameworks (Garrett’s framework) for its user-centred approach and comprehensive structure of the UX design process. It aims to investigate the relevance of Garrett’s framework, which is described in his 2011 book ‘The Elements of UX: User Centered Design, for the Web and Beyond’. The study also applies Garrett’s framework in the development of a local FIFA (EA) eSports mobile app prototype. The research problem focuses on meeting contemporary user needs while addressing the challenge of integrating UX theory with practical design implementation. The objective of the research is to examine areas where Garrett’s framework is still effective or may be limited, including identifying potential improvements. This is carried out in the context of contemporary design practices to address the needs and expectations of today’s users. The study applies a mixed method approach to establish a comprehensive investigation of Garrett’s framework, with both quantitative and qualitative research. The sampling techniques applied were purposive and convenience sampling, within the premises of a private college in Johannesburg. Data were collected through interviews with academic practitioners and an online survey completed by a sample group of ‘Gen Z’ eSports enthusiasts. The online survey prompted participants to evaluate the FIFA (EA) eSports mobile app before responding to the survey questions rating their experience with the prototype. The study concludes that Garrett’s framework is still a relevant and effective tool for a structured foundation for UX design. It does, however, need enhancements to meet contemporary UX practices and user needs. The study recommends integrating methodologies and approaches such as Lean UX, Agile UX, data analytics, responsive design, and emotional design to offer more comprehensive strategies.
Labour led strategy towards the fourth industrial revolution: a critical appraisal of numsa’s approach to worker control
(University of the Witwatersrand, Johannesburg, 2024) Ntlokotse, Mamolaba Ruth; Satgar, Vishwas
This research report would not have been possible without the efforts of many people. First, I would like to thank the Almighty God, who bestowed strength throughout the research journey. Embarking on a master’s journey was not easy, especially being a committed trade union leader with many union responsibilities. I am deeply indebted to my Supervisor, Professor Vishwas Satgar; the research report would not have been possible without the support, guidance, and feedback throughout the research project. I cannot begin to express my thanks to comrade Dinga Sikwebu, my mentor and source of inspiration throughout my shop steward journey. His help cannot be overestimated, as he introduced me to worker education and encouraged me throughout my studies. Let it not end with me. I owe a deep sense of gratitude to Professor Michelle Williams for her keen interest in me at every stage of my study. Thank you for being open-minded and constructive throughout. Thank you for giving me a shoulder to lean on when the road was bumpy. Your inspiration, motivation and suggestions have enabled me to complete my research report. I am incredibly grateful to my family who gave me unwavering support: my mom, Amelia; my siblings, Lebohang, Taelo and Thabang; my niece Bokamoso and my nephew, Bophelo. Most importantly, my son Bokang understood the sacrifice I had to make and sometimes did not spend time with him. To my late Dad, Ntate Mosuwe, I know you would be incredibly supportive if you were still alive. Finally, special thanks to everyone who offered invaluable practical contributions to the research project, particularly my comrades from NUMSA in Ekurhuleni. The leadership of SAFTU, especially the General Secretary, Zwelinzima Vavi, and other sister unions, never let me down.
Things in flux : Understanding the ontological dynamics of digital heritage objects
(University of the Witwatersrand, Johannesburg, 2024) Coetzee, Anton Stephen; Wintjes, Justine
Processes of digitisation, particularly within heritage-related fields, are frequently rendered as being infinitely thin and consequently mechanically objective. The lack of engagement with their complexity results in what Latour calls “black boxing” of the processes, technology, and practices. In this work I examine techniques and practices of 3D photogrammetric recording of archaeological, ethnographic and art objects and collections. Using two exemplars in the form of a late 19th century “curio” in the KwaZulu-Natal Museum collection, and a San rock art site near Van Reenen, I unpack and attempt to understand what is contained within these black boxes. I offer digitisation as a thoughtful, object-centric practice rather than data-driven process, drawing on ideas from Caraher’s “slow archaeology” and Stobiecka’s “prosthetic archae- ology”. Objects are decontextualised and unanchored in the process of excavation or procurement, and on accession into collections they are inducted into organisational and taxonomic schemas designed to afford them value as epistemological objects. These schemata are both biased and flawed, being natural heirs of colonial knowledge systems, and are thus lacking in awareness of multiple ontological viewpoints. By reframing the original thing and the resultant digital object in an ontological sense, I attempt to characterise these systems and their constructions of authenticity. I look to past practices of three-dimensional recording and copying, namely plaster casting of specimens and sculpture, and their role in not just practices of duplication, but also in furthering the colonial project and its epistemological flows. Collection, casting and digitisation — as acts of physical and material translation — perpetrate violences involving iii removal of things from their context, remaining adrift until re-anchored within schemata and rules. Understanding and challenging the nature of these rules is critical in avoiding the risk of reinscribing procrustean colonial approaches to recording and documentation. Furthermore, as metadata and data become inextricably entangled, it becomes more diffi- cult to recreate compelling narrative and “human-readable” context from these structures. However, these shortcomings might rather offer potential, building on Lev Manovich’s ideas of database trajectories and Ruth Tringham’s “recombinant histories”, allowing new and unforeseen paths through the data. I suggest that by eschewing neoliberal metric-driven approaches to “mass digitisation” in favour of small-scale, thoughtful practices, we foreground the opportunity to learn from and with the thing during digitisation. Opening up the “black boxes” and exposing and recording craft practices helps reconnect the digital object with the original thing, and offers a reconfigured view on digital authenticity. By formally recording these acts and decisions we can also contribute to the communities of practice which have grown around many of the arcane skills of digitisation.
The requirements of ethical journalism: An analysis of COVID-19 related news coverage by South African print and online media
(University of the Witwatersrand, Johannesburg, 2024) Goba, Lindi Mpumelelo; Sithole, Enock
The media provides people with medical scienYfic informaYon during a health crisis. This funcYon of the media is even more crucial when there are lockdown restricYons as seen during the COVID-19 pandemic. Previous studies of media coverage of pandemics show that reporYng was generally negaYve in that the stories were of an alarmist nature and there were high levels of sensaYonalism. The compromised standards of reporYng could be a`ributed to the need for print and online news media outlets to a`ract audiences and increase profits given the bad state of the economy, parYcularly during the COVID-19 pandemic. This study aimed to analyse the extent to which the South African print and online media met the requirements of ethical journalism, as set out in the South African Press Code, in their reporYng on COVID-19. The researcher uYlised a mixed methods approach as the study includes both qualitaYve and quanYtaYve aspects. The data was collected through the Press Council’s website and was sampled using the keyword COVID-19. In total, there were 105 complaints submi`ed to the Press Council of South Africa during March 2020 and March 2022. Out of the 105, the researcher analysed 13 complaints that were related to COVID-19 reportage made during the same period. This period includes the outbreak of the pandemic, the second wave, and concludes with the third wave which is when the pandemic began to wind down. The results and findings of this study show that the number of complaints submi`ed during the pandemic was significantly low and that the publicaYons that breached the Press Code were mainly sancYoned for serious breaches. This suggests that print and online publicaYons that subscribe to the Press Council pracYced ethical journalism and adhered to the requirements of the Press Code to a moderate extent.
Digital avatar design and social masks: the atavism of totemic-storytelling
(University of the Witwatersrand, Johannesburg, 2023) Mofolo, Katleho
Humans, often known as Homo sapiens, have long had a strong desire to create their own identities, both biologically and artistically. The human being is a storyteller who makes sense of the world through a chronological and linear pattern of narrations. Humans, on the other hand, have broadened storytelling through a variety of immersive means more than any other living organism. Some of these interactive approaches are becoming increasingly (1) digital, (2) augmented, and are now rapidly moving toward (3) virtual reality —the metaverse. These universes contradict our understanding of the physical world. Second worlds, alternative worlds, and the parallel universe are all terms used to describe worlds and spaces designed for extended human social interaction. In the 21st century is there enough progressive value and a sense of ethical evolution in the way humans communicate stories and alter social identity relationships to beam virtue into the virtual?
2D Animation: The Key to Growth and Adaptation of the South African Animation Ecosystem
(University of the Witwatersrand, Johannesburg, 2024) Gardiner, Eric; Cloete, Stephen
This paper examines South African animation with a focus on unveiling how local animators have adapted to overcome the challenges existing in their local circumstances. This research investigates the history of different techniques used by animators in South Africa and how they have evolved or died out. The data from a collection of over 170 locally produced animations is combined with opinion data from industry professionals to paint a clearer picture of current attitudes, trends and future trajectories. The cultural significance of localised animation is emphasised, and the core rhetoric of this paper is to stimulate the creation of more such media. This paper provides the most value to startup animators in South Africa who can leverage this collection of resources and information to bridge their gap in knowledge on South African industry processes such as financing one’s first animation project and developing a low-cost pipeline. The research in this paper uncovered that 2D animation plays the most significant role out of all techniques used in South Africa. It also reveals three differing business strategies that have been employed by South African animators to successfully fund locally themed animation productions.
Curating African Identity in Postcolonial & Digital Spaces
(University of the Witwatersrand, Johannesburg, 2024) Lipshitz, Danya; Randle, Oluwarotimi
This research interrogates the notion of "Authenticity" in the context of African art, both within the continent and the diaspora, particularly in digital platforms. Using Artspace.Africa—a reimagined version of the exhibition Africa Remix: Contemporary Art of a Continent—as a focal point, the study explores the complexities of African identity, spirituality, and spatial representation. I adapt Simon Njami's original thematic divisions— Identity & History, Body & Soul, and City & Land—while integrating Henri Lefebvre's layered concept of 'space,' involving physical, planned, and lived spaces. This curatorial approach aims to challenge monolithic perceptions of Africa, illuminating its diversity through an exploration of different types of space as theorised by Lefebvre. The methodology is qualitative, using my own curation as the primary lens for investigation. I consider the implications of digital platforms on the perceived "Authenticity" of artworks and the transformative role of the digital realm in archiving and exhibiting African art. The study also acknowledges its limitations, particularly concerning the digital divide and the limited access to the internet within a South African context. This research aims to contribute to a deeper, more nuanced understanding of African art and its multi-dimensional representations in the digital age.

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