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22 June 2020 | Story Andre Damons | Photo Anja Aucamp
Herkulaas Combrink.

A lot can be said about forecasting and modelling, its accuracy, and how it works. Forecasting and modelling provide any decision-maker with plausible predictions or outcomes to give some kind of estimated consequence. Without this field of science, planning would be difficult, as one would simply make decisions without knowing what might potentially happen to a specific cohort, market, or product. Forecasting as a concept can be seen as a set of mathematical, statistical and/or computational tools applied to a set of assumptions about something.

This is according to Herkulaas Combrink of the Centre for Teaching and Learning at the University of the Free State (UFS) and PhD candidate in Computer Science at the University of Pretoria (UP), following the South African government’s modelling of how many people would contract COVID-19 and die, which has come under fire in recent times – with one expert saying it was “flawed and illogical and made wild assumptions”. 

Combrink is of the opinion that South Africa – by using the MASHA Consortium – is using the best minds that the country has to offer. The fact that the leadership took a pragmatic stance and reached out to the scientific community has mitigated a medical disaster in a healthcare system that was not ready a few months ago.

“The government is looking at as many models as they can, but is working very closely with MASHA and the CSIR” says Combrink, who has been involved in clinical surveillance, and also forms part of the modelling team during his secondment to the Free State Department of Health. 

Prof Shabhir Madhi, the former head of the SA National Institute for Communicable Diseases (NICD), recently said that the initial modelling and fatality estimates were “back-of-envelope calculations”.

According to a news report, the government’s initial model also predicted that 600 COVID-19 patients would need treatment in intensive care units (ICU) in SA by April 1. But by April 18, the last publicly released figures showed that there were 32 COVID-19 patients in ICU.

Tried-and-tested models
The models currently used are tried-and-tested epidemiological models, mathematical models, and economic forecasting models that have been used in the past. It has now been calibrated to the specifications that we know of this disease, which come from publications. The reason why you would use more than one model is to compare models retrospectively, so that you can see what is going on.

“The government immediately reached out to the best minds in the country, and with the aid of the consortium, took a stance to throw scenarios at the different models and stress test them so that they could know that they are using the best possible models to assist in resource management and decision-making. If government responded in a different way and didn’t reach out, we might not have had a lockdown and subsequently would probably have been in a different position where the country wouldn’t be ready.” 

“We can say with a high degree of confidence that the lockdown really helps to ease and flatten the curve in the country. In light of flattening the curve, the right decisions have been made,” says Combrink.

COVID-19 still new
Unfortunately, says Combrink, during the COVID-19 pandemic, there was not enough information related to the disease assumptions and it lacked the rigour and perfection associated with the already existing prediction models. Although it may feel like a lifetime, the first COVID-19 case was only reported in December 2019. Add to this that not all the parameters related to the disease were known in January, it was challenging to determine all the ‘ins and outs’ of this disease. 

“Luckily, the mathematics and statistics of an outbreak have been extensively studied, and as a result, we only needed to use the correct parameters to estimate the spread of the disease in some of the outbreak models. The Minister of Health, Dr Zweli Mkhize, and the national modellers led by Dr Harry Moultrie, were transparent with not only their projections, but also how they derived their conclusions and what parameters they used,” says Combrink.

The most important thing in modelling is to calibrate according to what is known about the disease and people, explains Combrink. “It is impossible to predict people and a disease100% accurately, because you don’t always know how a virus will react to every single person’s body and you can’t predict human behaviour.” 

“So, there is a certain degree of error and a certain degree of confidence that lies within each model, and that is why you evaluate these models on a regular basis. And this is important. You will never be able to say this is the exact number. Just like the weather. If the weather patterns were predicted to be 12 degrees tomorrow, and it turns out to be 16 degrees, you at least packed a jersey. You knew it was going to be cold. The chances that the weather predicts that it will be 12 and it turns out to be 57 degrees, is virtually zero. It gives you more or less an indication what to prepare for

Models are useful, but can also be wrong
Combrink says if you want to apply any model, you need to understand the assumptions and the limitations of the models. Given a certain set of criteria – what are the assumptions you are making and what are the expected outcomes – you can only act according to that. He says, as time goes by, we can now see that there are some models that yield much better results because we can now compare what was predicted two months ago and what is actually happening. 
 “Some models are useful. We can get a better understanding of the pandemic’s possible trajectories or gain an understanding of the impact that different interventions have made. Models are used for decision-making. These decision-making strategies can save lives. That is the purpose of models and modelling during these times.”

Combrink uses the weather forecast to explain how modelling works and that models can be wrong. “Yes, models are wrong all the time. Take the concept of weather as an example. How many times has the weather forecast predicted that there is an 80% chance of rain, and then it doesn’t rain? Models can give you a certain degree of confidence in an outcome related to a specific event or scenario, so that you, with some degree of confidence, can go forth and plan accordingly.” 

“However, models can’t tell you what exactly will happen tomorrow, or the day after. It is not a crystal ball, and it is not a mirror into the future, but it can give you an indication of what is likely possible related to a specific scenario if you used the right variables. Let us consider that there is an 80% chance of rain in the weather forecast; will you a) go to work without an umbrella or b) with an umbrella? If it doesn’t rain, you are at least prepared for the rain because you took your umbrella. If you didn’t take the umbrella and it does rain, you may run into trouble because you did not appreciate the warning of the weather forecast. I think it is this concept that makes modelling so powerful. You can use it as a tool to prepare for things, in the event that it does happen, with a certain degree of confidence. Just like the previous example, there is also a 20% chance that it might not rain, but wouldn’t you want to be prepared?” explains Combrink. 
 
Models are tools that can be used to base decisions on
No one truly knows how the pandemic will play out, and according to Combrink, it can be said with a high degree of confidence that if nothing is done about the pandemic, we know how it would turn out from a healthcare perspective. 
“If you look at some of the global projections they gave months ago (in January and February) and compare it to what they said for March and April, you can see that they predicted, with a fairly good degree of confidence, what actually happened in certain countries. We have a good idea in terms of numbers and how it will play out, but what we will never know is what the impact will be on the socio-economic status of a person, the economy, and the impact on other diseases.”

“We do not know what is going to happen when it comes to mental health and COVID-19, for example. This is why modelling is a multidimensional approach, requiring inputs from various fields. Models can help us in the same way the weather forecast does. It is a tool that we can use to base certain decisions on, to be more prepared, because without it we won’t know to pack an ‘umbrella’ if it is predicted to rain or pack a ‘jersey’ if it is projected to cool down.”

News Archive

Top-class musicians appointed in UFS Odeion String Quartet
2008-11-02

 

From the left are: Denise Sutton, first violinist and leader of the string quartet, Sharon de Kock, second violinist, Jeanne-Louise Moolman, violist, and Anmari van der Westhuizen, cellist. 
 Photo: Dries Myburgh

 The University of the Free State (UFS) has recently appointed four acclaimed, top class musicians in its Odeion String Quartet. The quartet, which was established in 1991, is the only resident quartet at a South African university.

The new members who have been appointed are: Denise Sutton, first violinist and leader of the string quartet, Sharon de Kock, second violinist, Jeanne-Louise Moolman, violist, and Anmari van der Westhuizen, cellist. Anmari is the latest addition to the quartet.

Denise Sutton is well-known, inter alia, as longtime concert master of the PACT orchestra, as leader of the Rosemunde Quartet, for her involvement with the Chamber Orchestra of South Africa (COSA), and as a inspiring teacher at the University of Pretoria.

Jeanne-Louise Moolman has about twenty years experience as principal violist of professional orchestras in Gauteng and was leader of the violas in the Johannesburg Philharmonic Orchestra and COSA. She was also a founder member of the Rosemunde Quartet.

Sharon de Kock, formerly from Cape Town, studied at the University of Cincinnati, played in symphony orchestras in Peru, Costa Rica and the USA, and was a violin teacher in Mexico and Costa Rica until her return to South Africa in 2007.

Anmari van der Westhuizen, formerly from Stellenbosch, is one of the most sought-after cellists in South Africa, has been the conductor and director of the UCT String Ensemble since 1999, and spent eight years as soloist and chamber musician in Europe from 1988-1996.

The new quartet will be launched at a concert on 6 November 2008 in the Odeion on the Main Campus in Bloemfontein.

The new appointments follow after three former members of the quartet – Jürgen Schwietering, John Wille and Abrie de Wet – retired or left Bloemfontein at more or less the same time. Michael Haller, longtime cellist of the quartet, will also be retiring at the end of 2008. These developments mean that the Odeion String Quartet is literary brand new.

The new appointment creates exciting new opportunities for learners and students to be taught by excellent lecturers at the music department of the UFS. The new players also strengthen the Free State Symphony Orchestra significantly, since they will fill the four principal positions in the strings.

“The Odeion String Quartet is a flagship of the UFS and it symbolises our commitment to the arts. It also plays an important strategic role in the development of symphony orchestra music and classical music training in the Free State. It is an essential part of UFS regional collaboration with e.g. the Free State Symphony Orchestra, the Mangaung Strings Programme, the Free State Musicon, the Free State provincial Department of Arts and Culture and Pacofs.This is why a real attempt was made to obtain top class musicians, to attract the best in the country. We are pleased that such a strong group could be appointed,” said Prof. Frederick Fourie, chairperson of the String Quartet’s management committee and outgoing Rector and Vice-Chancellor of the UFS.

Most string quartets abroad are affiliated with a higher education institution, which enables a higher level of playing as there is more time for preparation and to study the repertoire. “We appreciate the university’s confidence in us and for the opportunity to explore the intricacies of ensemble playing. We hope that we can produce inspiring performances for our audiences and students,” said Denis Sutton, new leader of the string quartet.

Abridged CVs

Denise Sutton studied at the University of Stellenbosch (US) and obtained the degree B.Mus. with distinction. After this, she studied in Amsterdam with Theo Olof and Nap de Klijn, as well as in London. She was leader and second violinist in the Scottish Chamber Orchestra and did a successful audition for the English Chamber Orchestra. In South Africa she had a long career as concert master and leader of symphony orchestras. From 1980 she was concert master of the TRUK Orchestra for almost twenty years and from 2000 until 2005 she was member of the Johannesburg Festival Orchestra and the Chamber Orchestra of South Africa (COSA). She was also a founding member and leader of the Rosamunde String Quartet, one of the leading string quartets in the country. Denise had a very successful part-time teaching practice at the University of Pretoria (UP) and at a number of schools. She was also involved in postgraduate training. Her students include various competition winners and a number of them are playing professionally.

Jeanne-Louise Moolman studied at the UP under Prof. Alan Solomon where she obtained the B.Mus and B.Mus.Hons. degrees with distinction. She won among others the ATKV Forté and the Oude Meesters competitions and in 1985 she was the first winner of the prestigious 75th Commemorative Prize of the University of Natal. She has about twenty years experience as principal violist of various professional orchestras in Gauteng. Until her appointment at the UFS she was leader of the viola section in the Johannesburg Philharmonic Orchestra and COSA. She is an experienced chamber musician who regularly performs in various combinations with some of South Africa’s leading musicians. This includes Gerard Korsten, Phillipe Graffin, Jürgen Schwietering, the pianists Lamar Crowson and Albie van Schalkwyk, as well as clarinet player Robert Pickup. Jeanne-Louise was also a founding member of the Rosamunde String Quartet. She lectured on a part time basis at the UP and the Pro Arte Music School.

Sharon de Kock obtained the degrees B.A. Mus. and M.Mus. at the College-Conservatory of Music (CCM) of the University of Cincinnati in the United States of America (USA) in 2002 and 2004 respectively. Some of her teachers include the well-known concert violinist Chee-Yun Kim, Prof. Kurt Sassmannshaus and Piotr Milewski, all alumni of Julliard. From 2004 to 2006 she was violinist lecturer at two universities and a music conservatorium in Puebla, Mexico. She was also violin lecturer at a music school in Costa Rica and was associated with the Hugo Lambrechts Centre in Cape Town since 2007. Her orchestra participation includes among others the Opera Orchestra in Trujillo, Peru, the Sinfónica Nacional de Costa Rica in Costa Rica, as well as the Kentucky Symphony Orchestra, the Richmond Symphony Orchestra and the Dayton Philharmonic Orchestra. She also participated in the Luca Music Festival in Italy, the Grandin Music Festival in Portugal, the Pacific Music Festival in Japan and the Aspen Music Festival in the USA. Sharon performed regularly abroad as soloist and received various awards. This includes among others the CCM chamber music competition 2003 and the Baur Orchestral Competition and Heermann competition winner for violin at the CCM in 1995. In 1990 she won the first prize in the Sanlam competition.

Anmari van der Westhuizen was the winner at several national competitions such as the Forté and Oude Meester Competitions and in 1985 was the first winner of the prestigious University of Natal 75th Anniversary Prize. She is today one of the most sought-after cellists in South Africa. Anmari, a cum laude graduate of the Stellenbosch University, was awarded the Grosses Konzertdiplom with distinction at the Mozarteum in Salzburg and the Konzertexamendiplom at the Hochschule für Musik in Cologne, working under Heidi Litschauer and Maria Kliegel respectively. During her stay Europe from 1988 to 1996 she appeared as soloist and chamber musician in such groups as the Koehne String Quartet in Vienna, also appearing at international festivals in Austria, Italy and Spain. Anmari has made several CD recordings. Since 1999 she has been the conductor and director of the UCT String Ensemble. A founder member of the UCT Trio, the Collage Ensemble and I Grandi Violoncellisti, Anmari still performs regularly throughout South Africa, and is invited by the Austrian Composers Union as solo cellist.

Media Release
Issued by: Lacea Loader
Assistant Director: Media Liaison
Tel: 051 401 2584
Cell: 083 645 2454
E-mail: loaderl.stg@ufs.ac.za  
29 October 2008
 

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