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10 June 2019 | Story Charlene Stanley | Photo Charl Devenish
4IR Prof Marwala
Prof Tshilidzi Marwala, Vice-Chancellor and Principal of the University of Johannesburg and speaker at the first UFS public event on 4IR awareness (middle), with Prof Corli Witthuhn, UFS Vice-Rector: Research (left), and Tafadza Kachara, member of the UFS 4IR committee.

A computer programmed to play poker and learning by itself how to bluff; an algorithm that predicts whether two countries will ever go to war; machines that detect epilepsy with almost flawless accuracy these are some of the groundbreaking abilities brought about by technologies associated with the Fourth Industrial Revolution (4IR).

Addressing the first UFS public event to enhance 4IR awareness, Professor Tshilidzi Marwala, Vice-Chancellor and Principal of the University of Johannesburg, briefed staff, interested parties and members of the media about recent 4IR developments and their implications.

Prof Marwala is currently a thought leader on the impact of the 4IR on higher education in South Africa as well as the Deputy Chairperson of the national commission appointed by the president to formulate 4IR strategies for South Africa.

Industrial revolution history

He recapped how, during the first industrial revolution, people started to understand how nature worked, ultimately leading to the development of the steam engine.
The second industrial revolution was marked by the development of electromagnetism which led to electrification and mass production, while the third produced computerisation and a rise in digital technology. 

The fourth industrial revolution is characterised by a fusion of technologies that blur the lines between cyber, physical and biological systems. This has led to rapid advances in fields such as artificial intelligence, quantum computing and 3D printing.


Artificial intelligence

Prof Marwala pointed out that, although fears were rife of machines taking over people’s jobs, the flipside of the coin was that dangerous jobs such as fire rescue operations could be carried out by machines without endangering lives.

Artificial intelligence can be employed to prevent bridge and building collapses by monitoring the condition of structures. It can also be used in credit scoring, where machines search for and analyse all the available data on a credit applicant, without having to rely only on the (sometimes fraudulent) information supplied by the credit seeker. 

He emphasised the great need to develop algorithms applicable to our continent, such as translating software that makes provision for the clicks in languages like isiXhosa, and facial recognition software that incorporates data collected in African countries. 


Is Africa ready? 

Responding to a question from an audience member, Prof Marwala indicated that Africa was certainly not ready for the 4IR when it came to the content of teaching curricula and infrastructure.

“As universities, we should not sit back and wait for change. We have the responsibility to lead our societies to have the same experiences as elsewhere in the world,” he concluded.

News Archive

I-DENT-I-TIES to shine at the Free State Arts Festival
2016-07-08

Description: I-DENT-I-TIES  Tags: I-DENT-I-TIES

Erwin Maas with members of the student cast from the
Qwaqwa Campus. They are, from left: Mpho Xaba,
Lebohang Molefe and Tankiso Mofokeng.

Imagine this: A student cast from a rural campus; Production team consisting of a New York-based Dutch director, a South African screen and stage legend, a The Hague/Vienna-based Dutch theatre designer, and a Vienna-based Serbian performance-craft-artist and designer.

This sounds like a far-fetched flight of the imagination. But it is real and it is called ‘I-DENT-I-TIES’, a large-scale interdisciplinary performance project with international theatre professionals and students from the University of the Free State’s (UFS) Qwaqwa Campus.

According to the  director of the project, Erwin Maas, the production explores the ‘dents’ and ‘ties’ of both individual and communal identification and distinctiveness and does this through the famous Basotho story of ‘Moshanyana Sankatana’ as a point of departure.

“We explore questions like ‘what are dents in our society as well as in ourselves’, ‘what ties me to who I really am and who I want to be’, ‘what does it mean to be me’, ‘what does it mean to be South African’,” said Maas, who has been working on this project since last year.

The production also celebrates personal, communal, and universal narratives and identities through song, dance, story-telling, and music. It explores the past, the present, and the future.

“This production will certainly reveal an extraordinary journey into what makes us unique and binds us together,” he added during the rehearsals that started in May at the Qwaqwa Campus.

Maas has teamed up with a well-known South African film and stage legend, Jerry Mofokeng, as consultant. Mofokeng, who introduced Maas to the ‘Sankatana’ story, has featured on a number of critically-acclaimed films that include ‘Cry, The Beloved Country’ as well as the Academy Award-winning ‘Tsotsi’. Maas has also worked with the Hague/Vienna-based Dutch designer Nico de Rooij and Djana Covic, a Vienna-based Serbian designer.

The production is a partnership between the UFS Student Affairs, Vrystaat Arts Festival, the Programme for Innovation in Artform Development, and the Kingdom of the Netherlands in South Africa. It will premiere at the Free State Arts Festival, held in Bloemfontein from 11 to 16 July 2016. This will be followed by a performance at the Qwaqwa Campus on 19 July 2016.

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