2023 Digital Arts Postgraduate Handbook

DIGITAL ARTS POST-GRAD

HANDBOOK 2023

A FOCUS ON HONOURS, MASTERS & PhD RESEARCH IN THE DIGITAL ARTS DEPT. OF THE WITS SCHOOL OF ARTS

1. INTRO & MANIFESTO

Welcome to the 2023 Post-Graduate Handbook. A Digital Arts Department guide, location, inspiration and help book for postgraduate’s studies.

Through this handbook we aim to enliven the questions of research for digital art, technology and culture and bring together our staff and students under a singular vision for the digital creative sector and its research.

A FUTURE OF DIGITAL ART RESEARCH & PRACTICE

● We aim towards research that looks to service equitable futures at the intersection of culture and technology.

● We aim towards cultural and arts research that documents, critiques and grows the present view on technology towards a future that serves humanity.

● Our work is aimed at influencing the agenda of how digital creativity is spoken about and read from the African continent.

● We acknowledge that we are working from Johannesburg, a contemporary African City that is also home to multiple Pan-African and global identities.

South African Digital Artist, Natalie Paneng. Photo: Bubblegum Club

HOW WE DO IT TOGETHER_

● Expand the field of digital culture and creativity; where the role of a digital creator is critically engaged, and understood as laying the future of technology and culture.

● Produce knowledge and digital creativity that are not limited to the University; we look beyond academic circles to influences from and on the sector and society.

● Accommodate a variety of positions; including but not limited to the active role of students in decision making, idea generation, and curriculum design.

● Embrace the specialisation of our staff; this includes, but is not limited to animation, gaming, digital art and virtual reality. Digital Arts staff are artists, thinkers, cultural workers and researchers with experience across a variety of disciplines.

● Offer a range of teaching and research methodologies; ways of thinking and doing that allow us to engage a large range of conceptual tools and modes of expression.

*This manifesto is a living document, an ongoing questioning of our program, our practices, processes, thinking, ideas.

● Link to the world; we (students and staff) are linked to a local and international community of studios, expert makers, distributors, researchers and developers whom we will engage in our research and development.

Digital Artist, Vanessa Lorenzo. Photo: Bubblegum Club

2. RESEARCH EVENTS & SEMINAR SERIES

Building an environment for collective knowledge and aiding in developing a community for research.

2.1. RESEARCH SEMINAR & EXHIBITION SERIES

Digital Arts postgraduates and staff are ALL at some point in research and creative development of their own; either in PhD’s, MA’s, writing books or papers for academic journals or producing creative work for exhibitions in extension of research.

The SEMINARS & EXHIBITION Series aims to give insight into what everyone is working on, as well the opportunity for us to invite guests we are engaging with.

→ Invited guests can include collaborators and / or theorists, industry specialists and creatives who inspire us.

This is an opportunity for you to share your research, inspirations and to test concepts and theories on a focused digital arts research audience.

Subterranean Imprint Archive, Lo-Def Film Factory. Source: Bubblegum Club, 2021

Staff Led Seminars_

Presented either by staff themselves or by guests invited by staff. These guests should be theorists, researchers or creatives who’s work staff are exploring, inspired by or are collaborating with.

Student Led Seminars_

Presented either by students themselves or by guests invited by students. Students can work collaboratively with supervisors to invite guests or present jointly developed research. These guests should be theorists, researchers or creatives who’s work students are exploring, inspired by or are collaborating with.

2.2. MA RESEARCH PROPOSAL PRESENTATION SEMINAR

This is the annual (around July) seminar at which MA candidates present their research proposals to a panel of readers, guests and supervisors. The proposal presentation seminars are a requirement for all MA candidates (see more under ‘9. The MA’ ) and open for all students and staff to attend to learn more about MA research being developed in the Dept.

2.3. HONOURS RESEARCH GROUP PRESENTATIONS

Towards the end of the year Honours Research Groups have the opportunity to present to guests, staff and other students the focus of their research groups and the outcomes towards their final submissions (see more on 10. Honours Research ).

2.4. PLAY TEST WEEK

The Digital Arts academic year culminates in Playtest Week. During this week all students will be invited to share their work with peers from all year groups.

2.5. YEAR END (OR YEAR START) EXHIBITION

A final year exhibition across all genres of work,focusing on, but not limited to the final year 3rd & 4th year outcomes being seen publicly and by industry.

Chromatica (2021)

. Credit: Wits Digital Arts year end Exhibition by Nompumelelo Vilaka

3. OVERVIEW OF DIGITAL ARTS POSTGRADUATE PROGRAMMES

3.1. PhD WITS DIGITAL ARTS - AN OVERVIEW

WHAT IS A PhD_

A PhD (Doctor of Philosophy) is an exit degree, meaning it is the highest academic degree. Conducted after a Master’s and when a researcher or creative practitioner is in a position to contribute new knowledge to a field or subject.

The contribution to new knowledge is not easy and requires extensive understanding of the field being engaged, in addition to a well developed methodology for generation of new knowledge.

A PhD at the Wits School of Arts can be taken full time or part time over 4 to 6 years. Part time proposals complete within 12 months of registration and full-time proposals complete in 6 months of registration.

PhD applications are assessed at School level and accepted on an above 65% MA average, the merits of an expression of interest and supervision capacity. PhD’s ranges between 70 000 to 100 000 words, the Wits School of Arts allows for creative research submission as a contribution.

→ Find more on the PhD Stages in Section 8

→ See our current list of Research Supervisors in Section 7.

From PC Game ‘The Wagadu Chronicles’ by Twin Drums . Image from Twitter: @WagaduChronicle

3.2. MASTERS BY RESEARCH OR MASTERS BY RESEARCH & CREATIVE WORK - AN OVERVIEW

WHAT IS A ‘MASTERS’_

Completing a ‘Masters’ shows that you are a ‘master of’ or have ‘mastered’ a chosen or specified field or subject. Thereby proving that you are so well read and researched that you understand it well enough that you can ask and defend a significant research question in that field or subject.

This Digital Arts MA can be taken full time in 12 months (usually February to February) or part time over 2 years. It is a research intensive MA in which you work towards a single dissertation often accompanied by creative work, with a subject specialist as supervisor.

Research areas for an MA with the Dept. are described under the following general sector categories: Animation, Gaming & Interactive Media, BUT as the range of expertise and specialisation of supervisors in the Dept. are far broader than this, we accept a range of topics under the definitions of digital culture and digital creativity.

→ See our current list of Research Supervisors in Section 7.

WHAT IS EXPECTED_

Candidates are expected to produce research that is relevant to current research in the chosen field, is critical in nature, forms a Project Palies (2021). Credit: Wits Digital

Arts Exhibition, Eric Gardiner

strong argument and is academically sound..

The value of our MA is it allows for part of the examinable output to include creative work - you can therefore submit your MA in the following research vs creative work formations:

1) 100% Written Research

2) 60% Written Research with 40% Creative Research

3) 50% Written Research with 50% Creative Research

The percentage balance is an important choice that should be led by not only to how the creative work relates to the research, but if your creative work is considered examinable at an MA level.

MA DEVELOPMENT & RESEARCH CONTRIBUTIONS_

There are three major contributions to your MA development in the research community.

1) The Research Proposal & Proposal Presentation

A research proposal (2 000 - 3 000 words) is presented after 6 months for candidates registered full time and 12 months for candidates registered part- time.

→ Find more on proposal development in Section 9.

2) Research Seminars

In building an environment for collective knowledge and aiding in developing a community for research, MA students are invited to

present their research or invite guests to the research seminar series.

→ See Section 2

Guests should be researchers or creatives who’s work you are exploring or inspired by. You can also work with your supervisor to identify and invite guest speakers.

3) Final Research Submission

A final submission is submitted at the end of 12 months (usually by 15 February the year after registering) for candidates registered full time or after 24 months for candidates registered part-time.

→ See details on expectations and timelines in Section 9. All submissions must have ethical clearance and meet the non-plagiarism criteria in order to be examined.

→ See more on Ethics & Plagiarism in Section 5.

In the final submission written research is expected to meet the following word counts:

● 40 000 to 45 000 words for 100% written research

● 24 000 to 27 000 words for 60% / 40% written and creative work split.

● 20 000 to 22 000 works for 50% / 50% written and creative work split.

Research (written & creative) must be academically sound, have a clear methodological trajectory and make a strong and defended argument of a central research question.

3.3. HONOURS IN DIGITAL ART - AN OVERVIEW WHAT IS AN ‘HONOURS’_

An Honours Degree is a professional degree in which a 4th year of specialisation is completed - not only in a subject area, but also in academic writing and research. It is additionally understood as preparation for a Masters Degree.

The Digital Art Honours can be taken by candidates completing their 4th Year in the Digital Arts undergraduate programmes OR by candidates that have completed an NQF level 7 degree (3 Year BA or equivalent) from another college or university. In the latter candidates join the Dept. for the final Honours year only. This mix of candidates makes for a really great community of digital makers coming in from lots of different programmes. The Honours can be taken part-time over two years or full-time in one year.

WHAT IS EXPECTED_

The Digital Arts Honours is a research and coursework programme and can be taken in one of three subject areas: Animation, Interactive Media, Interactivity & Writing or Game Design.

The coursework programme includes:

● A one year written research project, either as Digital Arts Research Project or Long Essay.

● A year long Digital Arts Creative Project.

Cat-Astrophe! (2021). Credit: Wits Digital Arts Exhibition, Siyathnda Nontolwana, Linda Sumbu and Nhlanhla Langa.

● A semester long theory course: Digital Arts Theory.

● One honours / 4th year level practice course in either Animation, Game Design, Interactive Media or Writing & Interactivity - these are to be taken at either ‘introductory - year long’ or ‘advanced - semester long’ level - on advice of the supervisor and based on the applicant's academic history or experience in the respective field.

→ See more on Honours Research in Section 10.

HONOURS RESEARCH CONTRIBUTIONS_

There are three research contributions to your Honours development and the research community.

1) Research Project or Long Essay

As a written research contribution, students can choose between a Research Project which is developed with a group in a seminar and work series under a specific research area OR a Long Essay which is developed by the student independently (on approval) with a supervisor.

→ See more in Section 10 and Appendix B.

2) Creative Project

The Creative Project is your opportunity to explore a creative output of your choice for the Honours. You will have around 6-8 months to complete your project. It will be examined and exhibited at the Dept.'s year end exhibition.

The creative project is unlinked to any other course, however you have the option to further your research through this creative project and use it to support the research project or long essay.

4. SUPERVISION: What You Need to Know

At postgraduate level the supervisor and student relationship is an important part of successful postgraduate study. This relationship requires clear communication and commitments from both the supervisor and student.

The supervisor's role is sometimes not well understood. This section aims to give a bit of insight into what to expect.

→ The role of supervisor is academic guidance & research mentorship, leading students through the expectations of honours or masters research and helping them meet academic and University standards. An extraordinary opportunity to explore deeper insights, the development of ideas and new methods.

4.1. FORMAL COMMUNICATION & CHANNELS

The supervisor and student relationship is a formal one, and therefore formal communications channels must be used for all communications from setting meetings to sharing drafts and feedback. Every supervisor is different and will catch you up on their preferred channels, which should be either Wits Email, Wits Ulwazi (see section Section 6) or Wits Microsoft Teams.

→ It is important that you always share research drafts for feedback and review to your supervisors at least one to two week prior to a submission deadline.

4.2. POLICY & REGULATION COMPLIANCE

In compliance with University policies and regulations the signing of a Statement of Principles between a postgraduate student and their supervisor is compulsory. The Statement of Principles includes acceptance of the plagiarism policy and agreement on intellectual property rights.

Prisca’s World, #DearUs (2020) by Mmakhotso Lamola. Source: Fak’ugesi African Digital Innovation Festival 2020 Archive

4.3. SUPERVISOR & STUDENT ROLES

There are 3 main phases in the Supervision journey:

1) Foundation, 2) Momentum and 3) Final - the following details the basic responsibilities of Supervisor & Student at each phase.

1) Foundation Phase_

Supervision Assignment

Supervisor: At MA & Honours level supervisors are assigned. Assignment is based on the topic you are pursuing and / or capacity in the Department or School.

Student: Students should submit a good expressions of interest (MA & Long Essay) or join a research group (Research Project) to be assigned a supervisor.

Establishment of Support and Resources

Supervisor: One of the foundation roles of a supervisor is to guide you to research resources. *NB This does not mean selecting them for you. Supervisors will also work to help you understand research supporting structures and the expectations of the research programme.

Student: It is the student’s role to follow up & closely interrogate which resources are valuable or suitable to their research; this is an exciting and exploratory part of preparing for your research.

Approval of Research Topic

Supervisor: It is the role of the supervisor to approve research topics and the research questions.

Student: Students may go through a number of ideas, drafts and edits of a research topic and question, it is important to acknowledge this as a process of progress towards the supervisor’s final approval.

Completion and Approval of Proposal (MA only)

Supervisor: In tandem to the Dept.’s proposal development workshop seminar series, a supervisor will guide you in the timeous completion of your proposal. Including the proposal presentation, assigning a suitable reader, guiding any final changes and signing off the proposal for submission to Faculty (see section 9).

Student: Students are responsible for developing and writing an original proposal in the recommended academic style and within the deadline and expectations of the Dept.

Ethics Approval

Supervisor: Supervisors will guide and approve your research ethics applications to the School.

Student: Students are required to meet the University’s research ethics requirements for all research, which includes attending a mandatory ethics workshop (see section 5).

2) Momentum Phase_

Research Work Plan and Timelines

Supervisor: Supervisors will work with you to put together a work plan, this should be guided by your academic ability and research

methods. Work plans should include a timeline mapped to Dept. and Faculty deadlines.

Student: Work plan developed with supervisors should be collaborative and realistic to your needs and abilities. Every student (and supervisor) is different! Most importantly and no matter what, the work plan must take deadlines into account.

Progress Monitoring and Reporting

Supervisor: Supervisors are formally required to report on your progress to the Faculty, they will also help you track your development, encourage your progress and assist if an academic or personal crisis comes up in the development of your research.

Student: Students are expected to stick to agreed work plans and respond to supervisor requests. Any concerns or issues around development must be brought to the attention of your supervisor as soon as possible. Students are additionally required to submit progress reports to the Faculty.

Research Essay / Report / Thesis Preparation

Supervisor: Your supervisors will advise and guide you in setting up the structure and output expectations of your thesis. Your supervisor will read, give feedback and approve drafts to make sure that your work meets examinable academic expectations.

Student: Students are expected to submit drafts to supervisors in good time to allow for thorough feedback and revision prior to internal and Faculty deadlines. Students are advised to meet the required examinable academic expectations of research at Wits.

3) Final Phase_ Submission for Examination

Supervisor: Supervisors assist with the submission processes by assigning internal and external (MA) examiners, reading , approving and signing off on final submissions to Faculty.

Student: A student does need approval from their supervisor for their final submission, and should submit work in good time to meet the time required for feedback and review within the deadline. (see more in Section 9 for MA and Section 10 for Honours examination processes).

Rework of the “how are the kids” meme, circa 2018

Examination Process

Supervisor: Supervisors will assist in any examination feedback and will monitor and support you on any post examination changes and outcomes.

Student: The examination process tends to be long and you may be required to make corrections or changes before the work is given a mark. Generally a work submitted for examination with the approval of a supervisor, will have minimal or no corrections.

Paper Publication → PhD & MA

Supervisor: During the momentum and final stages supervisors may start discussing the prospect of you publishing your research as papers to academic journals or conferences. In this case supervisors may assist or co-author with you in taking examined research into further publication.

Student: Though not mandatory at all, one of the most exciting parts of producing research is getting recognition for it outside of the University. Discuss with your supervisor what it takes to publish out of your research and what opportunities exist for this.

5. RESEARCH ETHICS & PLAGIARISM: What You Need to Know

5.1. RESEARCH

WHAT IS IT AND WHY? _

ETHICS

When most people think of ethics (or morals), they think of rules for distinguishing between right and wrong, such as the Golden Rule ("do unto others as you would have them do unto you") or a code of professional conduct like the Hippocratic Oath ("first of all, do no harm"). This is the most common way of defining "ethics": norms for conduct that distinguish between acceptable and unacceptable behaviour.

Many different disciplines, institutions, and professions have standards for behaviour that suit their particular aims and goals. These standards also help members of the discipline to coordinate their actions or activities and to establish the publics trust of the discipline. For instance, ethical standards govern conduct in medicine, law, engineering, and business.

Ethical norms also serve the aims of research and apply to people who conduct research or other scholarly or creative activities. There are several reasons why it is important to adhere to ethical norms in research.

First, norms promote the aims of research, such as knowledge, truth, and avoidance of error. For example, prohibitions against fabricating or misrepresenting research data.

A Puzzle in the Karoo: Dassie Town (2021). Credit: Wits Digital Arts Exhibition, Ewan Anfield, Imaan Abusamra and Jack Rathbone

Second, since research often involves many different people, ethical standards promote the values that are essential to collaborative work. For example, guidelines for authorship, copyright, data sharing policies, and confidentiality rules. Most researchers want to receive credit for their contributions and do not want to have their ideas stolen or disclosed prematurely.

Third, many of the ethical norms help to ensure that researchers can be held accountable. For instance in cases of research misconduct, the human subjects protections, and animal care.

Fourth, ethical norms in research also help to build public support for research. People are more likely to fund a research project if they can trust the quality and integrity of research.

Source: Resnik, D. B, What Is Ethics in Research & Why Is It Important?. National Institute of Environmental Health Sciences. 2020. https://www.niehs.nih.gov/research/resources/bioethics/whatis/index.c fm (last accessed: 28 January 2022)

HOW IS THIS RELEVANT TO YOU?

In the process of producing research you will engage in one or more research methods. For instance using scholarly texts as a source, doing interviews with a group of students or specialists, or user testing for an interactive sequence, game or animation.

All of these methods engage people in one form or another. These people will want to be properly referenced or in the case of interviews or tests may want to remain anonymous or

unidentified (depending on the type of information you are gathering).

When working with participants and subjects who are human or animal (though this is unlikely in digital arts research) when gathering data you need to make sure that you adhere to the research ethics principles followed by Wits University.

→ FYI, WITS subscribes to the research integrity standards in the Singapore Statement which may be viewed here.

The School of Arts & Digital Arts Dept. generally work with the Human Research Ethics Committee (HREC) - non-medical - which involves human participants and if the research includes social, educational and/or psychological behaviour or perceptions and personal data required by an institution. This excludes research activities at a medical facility; e.g. hospitals, clinics, research labs, pharmacies, etc.

Broadly speaking this involves:

● full disclosure (telling them about the research),

● non-coercion,

● consideration of privacy issues.

ETHICS CLEARANCE PROCESS _

All students submitting research, Honours & MA MUST get ethics clearance for their final examinable research submissions. Getting ethics clearances is done in the following steps:

STEP 1: Attend Ethics Training Workshops, a certificate of attendance must accompany your ethics application. It is very important that this is done before your research proposal is complete.

STEP 2: Apply for Ethics Clearance, you must submit your research for ethics clearance. This is done first to an ethics panel at the Wits School of Arts, and once your application has been checked and approved by this panel it is sent from here to Faculty HREC (non-medical) for approval and the generation of an ethics certificate.

→ See Appendix C for dates on which you can submit to the respective WSOA & Faculty panels.

It is vitally important you get clearance before you submit your final research. It is very likely that the WSOA panel will ask for changes or updates - so make sure it get to them in good time so that additions can be made for a possible second round of approval before it does to the Faculty.

→ For MA’s ethics clearance is applied for using your research proposal, so wait until your proposal is complete and approved.

STEP 3: Ethics Clearance Certificate Number on your Final Submission, if you have done both steps 1 and 2 successfully you will receive a unique ethics clearance certificate and number which must be visible on the title page of your final research submission.

→ Research cannot be examined without it!

Ethics Workshop: Research Ethics Training & Applying for Ethics Clearance - Non-Medical

This workshop has two components:

PART 1 (3 hours) comprises formal training on research ethics, with a particular emphasis on social science research. This training is content based. There is a formal written assignment following this workshop. Successful completion of this assignment will allow participants to receive a Certificate of Competence in Research Ethics.

PART 2 (1 hour) describes how to apply for ethics clearance to the University Research Ethics Committee (Non-Medical) or to school ethics committees. This workshop will be relevant to Honours, Masters, PhD students as well as staff dealing with human subjects in their research projects.

2023 Ethics Information

Please visit the following Wits University site for all you need to know about Non-Medical Human Research Ethics process and needs:

https://www.wits.ac.za/research/researcher-support/research-eth ics/ethics-committees/

5.2. PLAGIARISM

WHAT IT IS AND HOW TO AVOID IT

According to the Wits Student Plagiarism Policy (2018), plagiarism is the failure to acknowledge the ideas and writing of others and the presentation of other’s ideas as one's own. The definition includes intention and unintentional failure.

Plagiarism is a serious form of academic dishonesty which is not permitted by Wits University in any circumstances.

The best way to avoid plagiarism is to understand when to give credit to another person or source. It is essentially anything that is not your own words or your own idea. Give credit to your source in all of the following situations:

● You directly quote a source - a text, a movie, an interview, etc.

● You borrow an idea from a source - you don’t quote the source directly, but you do integrate the idea from the source into your work or argument development.

● You paraphrase or summarise a source - when you give an overview of an idea or subject that you found outabout in another source.

● If you gain information from interviewing a person or from a class lecture.

● When you use diagrams, illustrations, or other images that you did not create yourself.

● Radio broadcasts, movies, podcasts.

● Things that are not common knowledge.

You do not need to cite any of the following types of information:

● Your own ideas and experiences.

● Common knowledge - be careful here. If you're in doubt, cite it.

● Results of lab experiments that you gathered yourself.

● Your own artwork, illustrations, diagrams, etc.

● Generally accepted facts - like eating too much will make you gain weight, sugar causes cavities

Source: Purdue OWL https://owl english purdue edu/owl/

5.3. AVOIDING PLAGIARISM & TURNITIN

There are a number of ways that you can ensure that they are not committing any academic misconduct or plagiarism.

→ Make sure that all your written and creative submissions are well referenced and written in a good academic style. It helps to learn the rules between different citation styles - ie. quotations vs paraphrasing and how to use them effectively. This is a good reference source.

→ All students at Wits must submit TurnItIn reports with every formal submission from essays and assignments to research proposals and dissertations.

You can generate TurnItIn reports via TurnItIn generator in Ulwazi (WSOA8000A for MA / WSOA4088A for Hons) see Section 6 on Ulwazi. And find out more about TurnItIn here in the Wits guides.

6. ULWAZI & THE LIBRARY: What You Need to Know

6.1. USING ULWAZI

ULWAZI is the online location through which you will access all your courses and programmes details. Not only will regular updates and information on the programmes and courses you are enrolled for be posted there, it is also used as the portal through which you will access:

● Notifications of classes, seminars & meetings.

● Notifications of expected submission & assignments.

● Repositories for text based and pre-recorded learning resources.

● Live online classes or group meetings.

You will also use ULWAZI to submit research submissions and assignments, in addition to using it as one of the formal mechanisms to communicate with your lecturer and supervisor. Since the onset of blended learning in 2021 / 2022 all students are required to join ULWAZI.

HOW DOES ULWAZI WORK? _

1. You will be added to Courses or Programmes that you are enrolled for - ie. Honours students will be added to all the courses they are enrolled in & MA research students will be added to an MA dissertation programme ‘course’.

2. You will be notified that you have added via your official wits email address i.e. mystudentnumber@wits.ac.za

Space Squa (2021). Credit: Wits Digital Arts Exhibition, Princess Mampane, Karabo Putuka, Sizwe Zulu.

3. You will need to login to ULWAZI using your student email address and password via https://ulwazi.wits.ac.za/ . You can use it via a computer or mobile device - for more on this please see - https://www.wits.ac.za/ulwazi/

4. Once you are logged in you will find further information on how to use the space.

→ If you are having issues with you password and account please contact CNS (Computer Network Services) Service Desk , 1st Floor, West Wing, Senate House Building, East Campus Tel: 011 717 1717 / E-mail: ITStudentHelp@wits.ac.za

→ If you have issues or are having difficulties using ULWAZI please reach out to your supervisor or programme co-ordinator.

6.2. USING LIBRARY & UNIVERSITY RESEARCH RESOURCES

ACCESSING THE LIBRARY PHYSICALLY & ONLINE _

Students who are registered in the Faculty are automatically registered for access to all branches and sections of the University Library across all campuses.

→ Student Cards are required to access all libraries, to borrow books, pay fines and to make photocopies and

computer printouts if credited in advance with money through the Kudu Bucks Terminals (KBTs), which are located in various places on campus. Please note that there are no KBTs in libraries and no copies for cash are done in libraries.

The Wartenweiler Library is understood as the main library and will probably be your main source of physical books and Journals for the period of study, however the Education, Engineering, Science, Cullen and Architecture Libraries are also available to you. You can see from the online catalogue listing in which library you book our journal you are wanting to take out is situated.

All physical and digital books and journals in the library system can be explored via e-Wits - the online Library catalogueaccessible and searchable from any Internet connection, on campus or remotely, at http://www.wits.ac.za/library via a computer and http://m.innopac.wits.ac.za for mobile devices.

→ Through these sites you can search the library, check library loan records, renew books and reserve books.

→ You will need to create a PIN the first time you access these sites. Please visit the Library’s homepage to find and follow the simple steps to create your PIN, and keep it for regular use, as described.

Electronic resources have substantially replaced current print resources in many disciplines, and are searchable. Electronic

resources are licensed to the University Library for use by all current registered students and staff of the University.

→ These resources can be accessed remotely using your PIN, last name and student number.

In 2008, a new postgraduate facility, the Research Commons (RC), was opened inside the William Cullen Library Ground Floor reading room. All Masters and PhD students are invited to visit the RC, which is a dedicated postgraduate space supported by professional librarians. The RC is equipped with wireless laptop access to the Internet and laptops may be borrowed for use within the Commons. Research support services for postgraduates are developed on an ongoing basis.

TIPS FOR RESEARCH ONLINE_

Our very own Kirsten du Preez made in 2021 an excellent overview of how to explore and find research resources via the libraries e-Catalogue:

→ Watch it here: How to Research Online.m4v

The same topic however will be addressed in the MA proposal development seminars and in research groups for Honours students. Please speak to your supervisors if you are having difficulty accessing resources or finding what you are looking for.

Screenshot from How to Research Online by Kirsten du Preez.

7. SUPERVISORS & RESEARCH EXPERTISE

7.1. DIGITAL ARTS SUPERVISORS

In 2021 Bristow won the National Science and Technology Forum Award for Sustainable Development in the Creative Industries for her work in co-founding and directing the Fak’ugesi Festival.

Beyond teaching, research, curation and directing festivals, Bristow is a developer of interactive digital media in installation, interactive-performance screen-based and online media. Exhibiting most recently in 2021 a work titled a School for Vernacular Algorithms with the University of African Futures, curated by Oulimata Gueye at Le Lieu Unique in Nantes, France.

Bristow completed her PhD with the Planetary Collegium at the Centre for Interdisciplinary Arts at Plymouth University, U.K titled Post African Futures: Decoloniality and Actional Methodologies in Art and Cultural Practices in African Cultures of Technology.

Installation View UFA – University of African Futures from 10 April to 10 August 2021

Dr. Tegan Bristow_

Senior Lecturer and Fak’ugesi Principle Researcher, Bristow additionally acts as Editor in Chief of the WSOA Ellipses Journal for Creative Research. Bristow directed the Fak’ugesi African Digital Innovation Festival from 2016 to 2020 and now works closely between Fak’ugesi Festival, Tshimologong Innovation Precinct and the Wits School of Arts developing research on the Digital Creative Industries in Africa.

Tegan’s Research Areas Art, Culture and Technology in Africa, Interactive Media Arts, AI & ML and Art, Vernacular Algorithms, Algorithmic Thinking in Culture & Society, African Futures & Post African Futures, Decolonising Methodologies in Knowledge Production, Digital Creative Industries in Africa, Culture & Policy Development with 4IR & Innovation Sectors.

Tegan’s Wits Staff Profile

at le lieu unique Photo: David Gallard

Character Design by Steve Cloete (2021)

Stephen Cloete

Steve Cloete has lectured in the Digital Arts program since 2014. He has a background in Fine Arts with a focus on digital production and 3D asset creation. He was involved in the early phases of the Game Design program at Wits and helped to develop several of the courses which are now taught as part of the degree.

He has a Bachelor’s degree in Fine Art, and a Masters degree in Digital Art, as well as a diploma in Graphic Design. His MA thesis

focused on the intersection of Anthropology and Table-Top Roleplaying games.

His teaching is primarily focused on practical asset creation and integration for games and interactive media, with primary interests in character design, animation, narrative integration and communication, and procedural asset creation.

His current research interests revolve around spatial practice and its implications for the production of virtual space within interactive media. This extends from his earlier research, in which he investigated the possible connections between liminoid ritual spaces and practices (as described by the anthropologist Victor Turner), and the textual foundations and play-driven implications of table-top roleplaying games. He is primarily interested in the relationship between games and broader socio-political phenomena. He is concerned with situating games within a cultural context, and identifying the specific mechanical and aesthetic characteristics of gamic texts and processes that allow them to connect with and inform other areas of cultural life.

Steve’s Research Areas: Spatial practice and production in virtual environments, digital artistic production, the anthropology of games, socio-politics of virtual spaces/places.

Steve’s Wits Staff Profile

Kirsten du Preez_

Kirsten du Preez has taught in Digital Arts at Wits University since 2018, becoming an Associate Lecturer in 2022.

Kirsten has a background in theatre, where she has written, directed, and stage managed numerous student and professional productions. This work was the beginning of learning and experimenting with crafting an audience’s experience. Looking for ways to make those experiences more interactive, she found her way to Wits Digital Arts. Kirsten’s MA dissertation focused on narrative design in board games, further cementing her interest in interactive storytelling.

Kirsten has a wide range of industry and commercial experience. She has worked on a number of published (and yet-to-be) board games, and has developed gamification programmes for many national and international companies.

Kirsten’s current research is exploring the relationship between behavioural economics and the act of playing board games. By identifying board game players as economic agents, Kirsten is studying their decision making through economic models (and variations therein).

Kirsten’s Research Areas: Board games, Gamification, Behavioural Economics, Narrative, Playful and Interactive Storytelling, Theatre, Applied Games, Serious Games. Game Design and Development, Player Studies and Research, Diversity in Games.

Bloom Town (2019) box cover. Developed by Kirsten du Preez.

Doc McStuffins Baby Nursery (2017) Source: App Advice: https://appadvice.com/app/doc-mcstuffins-baby-nursery/1187114038

Last Accessed: 2023-02-20

Tim Flusk has been a lecturer at WIts Digital Arts since 2019. His undergraduate degree in the BEngSci in Digital Arts. This has allowed for particular interest in the ways more technical fields and humanities intersect, particularly in the ways we craft STEAM industries (Science, Technology, Engineering, Arts and Medicine).

His teaching focuses on Game Design and Game Development. He has a background in game development having shipped several for various platforms, in various genres. His previous specific

focuses in industry have focused on game programming and optimisation.

His MA focuses on the intersection of race and technology and the consequences for video games. He is hoping to extend this research into further understanding the social and psychological consequences of capitalism on interactive media.

Tim’s Research Areas: Game Programming and Optimisation, Economic Structures of Game Production, Social-Political Studies of media, Race studies, Game Design as Expression

Tim Flusk_

Tim Flusk’s Staff Profile

Screenshot of Digital Arts Honours Interactive Media project: NorthSouth (2021) by Khutso Nkadimeng, https://nkadimengk.github.io/north-south/#/ . Last accessed 2022-02-10

Hanli Geyser_

Hanli Geyser is a Lecturer in Digital Arts at Wits University where she was Head of Department of Digital Arts from 2015 - 2019.

Hanli developed the Game Design Programs at Wits, which kicked off in February 2012, as well as the BA in Digital Arts degree. These programs provide an introduction to the technical, conceptual and critical foundations needed for students wishing to enter the field of practice that merges technology and the arts.

Hanli graduated with an MA in History of Art from Wits. She is fascinated by the conjunction of visual arts and narrative texts

found in games, interactive and experimental storytelling, comic books and film.

Her current research investigates the pedagogic frameworks for teaching programming, in a South African context, with a focus on Decolonisation and Curriculum Transformation

Hanli’s Research Areas: Decolonising Programming Education, Critical Code Studies, Interactive and Experimental Storytelling –user participation in the narrative: literary, visual and experimental storytelling forms.

Hanli’s Wits Staff Profile

The Most Significant Cyber Attacks from 2006-2020, by Country. Source: Visual Capitalist, https://www visualcapitalist com/cyber-attacks-worldwide-2006-2020/ Last Accessed 15 Dec, 2021

André Gopal_

André Gopal is an Associate Lecturer in Digital Arts at the University of Witwatersrand since 2021.

He started his academic career abroad designing the Network Penetration Program for Computer Sciences in August 2017 at Shandong University, China. These new programs provided instruction as to the technical and conceptual components of programming in the face of the rising need for defense against Cybercrime for those who wish to enter the popular field of Digital Security.

André graduated with an MSc in Computer Science from the University of Kwa-Zulu Natal and holds several other professional qualifications such as the CISSP and OSCP - and is enthralled by all things puzzling in code and technology.

His current research interests cover a broad range of subjects that interlink at various levels of the economic, cultural, and psychological landscape.

André’s Research Areas: Gamification of Cybercrime in the Digital Era, Economic shifts in response to Global Digitalization, Social shifts (psychological, cultural, political) due to increases in Rapid Digitalization.

André’s Wits Research Profile

Pax Pamir: Second Edition (2019)

Source: Polygon, https://www.polygon.com/2019/9/11/20853419/pax-pamir-second-edition-revie w-afghanistan-historical-board-game. Last accessed 25 Feb 2022

Kieran Reid_

Head of Department, Wits Digital Arts

Kieran Reid is a teacher, theatre maker and play and games scholar.

He has been teaching at the University of the Witwatersrand since 2012 in Theatre and Performance and Digital Arts. He has been involved in Wits Digital Arts and the Game Design programme

since its inception in 2012. His teaching focus is on analogue games, play studies, theatre and interactive narratives.

Kieran has also worked extensively as a production manager, director and facilitator in the theatre and gaming sectors. He has directed theatre pieces both for Joburg Theatre and the National Arts Festival and has hosted and produced MegaGames. He served as a project manager for the Fak’ugesi Festival and A-MAZE festival from 2013 - 2018. Kieran has also worked as a game consultant and co-designer.

Kieran’s current research is focused on using the field of media archaeology to examine the history and landscape of modern hobby board games. In part the research aims to interrogate the ways that and reasons why play has changed.

As additional research and practice Kieran is interested in developing and understanding digital literacies and pedagogy in a South African Context.

Kieran’s Research Areas

Audience Studies, Player Studies, Board Game Studies, Game Literacy and Pedagogies, Histories (Gaming), Media Archaeology, Theatre Studies, Digital Gaming, Digital Narratives, Interactive Storytelling, Theories of Decision Making.

Keiran’s Wits Staff Profile

Mancala Game Source: -

https://arxiv.org/ftp/arxiv/papers/1309/1309.1543.pdf last accessed 02-January-2021

Olu Randle_

Olu is a researcher and a lecturer in Digital Arts. He has a PhD in Information Systems which was completed in 2018 the focus of the PhD was the utilisation of the Self Determination theory of work motivation to understand Humans motivation to use systems.

Olu has a Master’s degree in Computer science with a focus on Artificial Intelligence (AI) and computer games. The focus of his master’s study was the African board game Mancala (Awale) which was completed in 2013. Olu has a BSc in Computer Science and a BA (Hons) in Digital Arts.

Olu started his lecturing career at Tshwane University of Technology in 2011 and has been able to extensively utilise various research approaches to understand and solve complex socio-cultural issues.

Olu has successfully supervised 5 honours students at UNISA and 4 masters students at UNISA. Since 2019 he has served as external examiner with respect to marking PhD and Master’s dissertations and thesis for several Universities in South Africa

Olu’s Research Areas

Understanding Social Discourses within MMOG, Game play and Game play studies, Decolonization within Digital Arts Studies, Gamification

Below is the link to the research gate Profile

Olu’s Research Profile

Eowyn Kills the Witch King Source: Existential Comics, https://existentialcomics com/comic/318. Last Accessed 17 Feb, 2023

Rachel van Rooyan_ Lecturer, Wits Digital Arts

Rachel has taught animation at Wits University since 2017 - 2019, becoming a Lecturer in 2023.

An avid animation and nature enthusiast, she first received a BSc in Physics at the University of Pretoria before deciding to merge her interests and study a BA Hons in Digital Arts at Wits University. She then furthered her studies with a MA: Digital Arts, specialising in 3D animation.

Rachel’s research has centred on the representational processes involved for animation to communicate meaning and how this impacts audience interpretation. By looking at semiotic codes in animation as primarily displayed through gesture, and how their meaning is also informed by the current discourse - studio hierarchies, cultural biases, and pop culture, among others. This research was applied by comparing panel-based image story-telling techniques against those of animation to gain an understanding of why religious texts often engage with animation as an adaptation medium.

Rachel’s Research Areas: Animation studies, fandom studies, adaptation studies, semiotics, diversity in animation, hybrid animation, animation history, media studies.

7.2. IACS SUPERVISORS

The Digital Arts department often assigns and offers supervision in collaboration with the Interdisciplinary Arts and Culture Studies Department

arise in relation to them. This includes audiences broadly defined, as well as different kinds of interpretive and creative communities that orbit media texts and the fan cultures that both draw from, and feed into the flow of cultural consumption and production. Catherine is primarily interested in working via ethnographic methods (both digital as well as more traditional face-to-face methods in physical sites) and is currently focused on the intersection of media practises in everyday life including work, home, and leisure.

Catherine’s Research Areas: Audience studies, fandom studies, participatory media cultures, translocal and transcultural consumption, creative and cultural industries, creative methodologies, critical theory.

Catherine Duncan is a researcher and lecturer in the Department of Interdisciplinary Arts and Culture in the Wits School of Arts. She has a PhD in Media Studies and a M.Ed in Higher Education and a MA in Journalism and Media Studies. Her current research interests are popular media and the participatory cultures that

Image by Scopio from NounProject.com

Dr. Catherine Ducan_

Catherine’s Wits Staff Profile

Dr. Haseenah Ebrahim_

Haseenah Ebrahim (Ph.D., Northwestern University, Illinois) teaches in the Dept. of Interdisciplinary Arts and Culture Studies (IACS) in the Wits School of Arts at the University of the Witwatersrand.

Her research interests, teaching and postgraduate supervision span a range of topics in the fields of film, media and cultural studies, and storytelling across various media and cultural contexts. She has published on gender representations in Pixar

animation films, African spirituality in independent African American cinema, South African women screenwriters, Bollywood in South Africa, and the political economy of micro-entrepreneurial filmmaking in South Africa. Her current research focuses on reaction videos on YouTube.

Dr. Ebrahim’s Research Areas: Film Studies, Media Studies, Cultural Studies (representation, ideologies, power relations, etc.), Genre Studies, Narratology/Storytelling, Intercultural discourse on YouTube, Reaction videos on YouTube

Reaction video thumbnail on YouTube. Source: Family Reacts Channel (https://www youtube com/watch?v=A7kZCN7GiDw)

Dr. Ebrahim’s Wits Staff Profile

Dr. Benita de Robillard

Benita de Robillard (Ph.D., University of the Witwatersrand, Johannesburg) is Senior Lecturer in the Dept. of Interdisciplinary Arts and Culture Studies (IACS) in the Wits School of Arts at the University of the Witwatersrand. In 2014 she completed her Ph.D.,

which investigates the machinic assemblage of sexualities, socialities, and politics in the post/apartheid conjuncture. In 2006 she was selected to participate in a Doctoral Summer School convened by the University of Amsterdam, the Wits Institute for Social and Economic Research and the Universidad Federal de Bahia in Salvador de Bahia, Brazil. She is the recipient of a number of research grants including a multi-year National Research Foundation grant and two Carnegie Mellon grants.

Her current research projects use interdisciplinary critical perspectives to explore various body-technology intervolvements and recent publications have examined the vexed interconstitution of race and animality in the contemporary South African setting.

Dr. de Robillard’sResearch Areas: Visual Cultures, Film and Media Studies, Cultural Studies (e.g. embodiment, race, sexualities, disability), Critical Digital Humanities e.g. (platform capitalism, the digital self, platform labour, social media), Science and Technology Studies, Medical Humanities, Human-Animal Studies (race and animality), Critical Posthumanism.

Dr. de Robillard’s Wits Staff Profile

8. PhD Stages

We give a summary of the PhD stages here, please enquire with your supervisor on the stages in relation to your own work and processes.

ENQUIRY & ADMISSION STAGE_

This is where we see if you have the required qualifications and experience, and we see if we have supervisory capacity to assist you in your chosen area of study. The School receives your application on the online Student Information Management System. A committee establishes whether you have the relevant qualifications (above 65% - 70% for an MA dissertation), an acceptable initial 2500-word admissions proposal and appropriate supervision being available.

We strongly advise that you inform yourself about the academic staff who are available in the School and Dept. before you apply, their areas of research specialisation and interest and contact them for advice about whether your proposed topic area is one where we can provide support. Not all Supervisors listed in Section 7 are available to supervise PhD’s.

PREPARATION STAGE: PROPOSAL_

The preparation stage is conducted with your supervisor at the WSOA where we provide assistance to develop a research focus and explore research methodologies to be able to conceptualise and develop a proposal. This involves further developing, refining

Love me Less (2020), Digital Arts Dept. 4th Year Interactive Novel by Chervalle Dermit, Jesse van der Merwe, Keagan Bowler, Nadia Hassim, Zhuofeng Wu

or sometimes reconceptualising the proposal you submitted with your application. When the proposal has been successfully defended the University will formally admit you as a PhD candidate and you begin to do your research and write your thesis. We may recommend co-supervision with colleagues from other Schools at Wits, or at other Universities, as required but the main supervisor must be a staff member at Wits.

PhD Proposal Processes & Expectations

For the proposal which should be between 8000-15000 words in length, the readers and committee will be looking for a comprehensive review of the literature, a strong research methodology strategy and schedule, further exploration of the theoretical base and a well-conceptualised research problem. The purpose is to ensure that you have mastered key aspects of the relevant discipline(s) and/or methodology. The proposal is recommended to include:

● A title ( brief and precise, avoiding redundancies and unnecessary phrases, such as ‘a study of’ or ‘an investigation to establish’).

● An indication of the aim and rationale of the research.

● A careful review of the pertinent existing research, a survey of the main works which will be used to establish a theoretical orientation.

● An indication of the investigative approach to be adopted, or the research design or procedure envisaged.

● In addition, where applicable, the following should be added:

○ Details of the main source materials to be used.

○ A clear indication, if the work entails ethical considerations, that this matter has been given careful attention and that the proposal has been cleared or approved by the relevant Research Ethics Committee, whether at School or University level.

○ A description of the methods or statistical procedure that will be used to assess data;

Discipline/programmes co-ordinators are required to arrange for proposals to be presented to a seminar which in the interests of quality control should normally include members of staff from outside the particular discipline or programme.

Proposals will be sent to two readers with at least one reader external to the University. Readers are nominated by the supervisor on the appropriate form at least three weeks before the candidate submits the proposal.

Readers will normally be given two weeks to review the proposals and should submit a written report indicating:

● Whether the research is suitable in scope for the degree

● Whether the candidate has shown competence to undertake the research

All research proposals should be sent electronically to the Faculty and accompanied by Readers reports, supervisors letter, Faculty’s proposal submission form, statement of principle document and a TurnItIn Report.

All candidates must apply for ethical clearance parallel with their research proposal and must have obtained their ethical clearance certificate prior to the submission of awaiting examiners.

→ See Section 5 for more on research ethics.

CANDIDATE STAGE_

During this stage you undertake the planned research, gather data, extend your reading on theory and method, analyse the material, and begin to draft successive chapters for consideration by your supervisor. In addition, if the material, your progress and funding permit, you will be encouraged to present at internal and external conferences and prepare publications. You will be required to present progress reports to your supervisor and the Faculty Graduate Studies Committee at regular intervals.

PhD candidates are expected to publish at least one Journal article or other form of publication on their work in this phase of their PhD.

EXAMINATION STAGE_

The PhD is awarded to candidates who have critically investigated and evaluated topics resulting in an independent and original contribution to knowledge. Candidates must show general

knowledge of the wider field of scholarship to which their special topics belong and knowledge of the appropriate research methodology. The originality of candidates’ work may be in discovering new facts or examining existing facts or ideas critically, or in devising and conducting investigations into ideas supplied by others. The thesis must be a work of substance and worthy of publication either as submitted or in a modified form. Examiners must be convinced that a standard of originality and innovation has been achieved.

Your thesis is examined by an internal Wits examiner, and two examiners external to the University, at least one of whom is of international standing. The key criterion for award of the PhD degree is that the thesis must make an original contribution to the advancement of knowledge.

The degree is awarded on the basis of a thesis and thesis and creative work if creative research is being conducted. A final PhD submission ranges between 70 000 to 100 000 words, the Wits School of Arts allows for creative research submission as a contribution.

The outcome of a PhD examination for awarding the PhD are:

● Where all the examiners recommend that the degree be awarded “PASS”;

● Only the correction of minor errors is required, e.g. typographical mistakes, omissions from the list of references or the rewriting of certain sentences.

9. THE MA Stages in Digital Arts

9.1. MA KEY STEPS

The following are key steps in the MA development process and the time of year when they are due.

Process Full Time Part Time

● Enrollment & Supervisor Allocation

February / March February / March

9.2. ACTIONS & SUBMISSIONS

The following are key development submissions for MA’s at each key step.

Process Actions & Submissions

1. Enrollment & Supervisor Allocation

2. Research Proposal Development

● Research Proposal Development +- 4 months February to June. Within 10 months of enrollment.

● Research Proposal Presentation & Submission

July into August From July & within 12 months of enrollment.

● Ethics Application & Approval Within 2 months after proposal submission.

● Research Development +- 7 months August to early February in the year following enrollment.

● Research Submission & Examination

Within 4 months after proposal submission.

Within 12 months following the proposal & 24 months of enrollment.

February / March of the following year. Within 24 months of enrollment.

3. Research Proposal Presentation & Submission

● Student Expression of Interest

● Attend Research Seminars

● Proposal Draft Submissions

● Research Seminar for Proposals

● Readers Report & Response

● Final Proposal Submission Docs & Supervisor confirmation.

4. Ethics Application & Approval

5. Research Development

● Ethics Workshop & Certificate

● Approved Proposal for Ethics Clearance

● Keep Writing

● Attend Research Seminars

● Attend Shut Up & Write

● Research Draft Submissions

6. Research Submission & Examination

● ‘Intention to Submit’ Form

● Final Draft to Supervisor

● All Final required Submission Documents

● Examiner Feedback & Response

9.3. THE RESEARCH PROPOSAL

Wits University puts great emphasis on the proposal, it is also a point at which supervisors and the University ascertain whether a candidate should be allowed to continue with their MA or not. Therefore the proposal not only helps you clarify what you will be focusing on and plan the coming research, but is also a test to see if you will manage the requirements of the research development process.

WHAT IS IN A PROPOSAL?_

Proposals must contain the following (see Appendix A for Seminars in which this is covered further).

● Proposed Research Title

● Research Question

● Abstract of the Proposal

● Aim of the Research

● Rationale for the Research

● Literature Review and / or Theoretical Framework

● Research Methodology

● Overview of Planned Creative Practice (if required)

● List of Works Cited

GUIDING YOUR PROPOSAL DEVELOPMENT_

● We offer a schedule of mandatory proposal development workshops & seminars (March - June) on the development of research and research proposals - see Appendix A for the full schedule. New Balance (2021), by Arclight (Abdulrahman Adesola Yusuf). Mixed Media (inkjet & acrylic on canvas). Source: https://latitudes online/arclight-new-balance html Last Accessed, 15 Dec 2021

● Your supervisor or supervisory group will additionally guide you in meeting requirements and expectations. See Section 4 for more on supervision.

● Regular proposal development submissions are submitted via email or Ulwazi to your supervisor

● The Masters Lab is a space dedicated for use by the masters students. Please note that only masters students and lecturers are allowed in the space. The Lab should be a space conducive to working, discussing and engaging.

→ Please be respectful of the other students working in the space. As it stands, there are not enough desks in the Lab to permanently accommodate each Masters student at the same time. So please refrain from “claiming” a space or desk as your own, and leaving your belongings there permanently.

PLAGIARISM & ETHICS FOR MA’S_ Plagiarism and Responsible Resource Use

In both your proposal and your research plagiarism is an offence that can lead to you being excluded from the university.

For this reason it is important that you work with your supervisor to understand and implement good referencing practices throughout. It is also the reason why every formal submission of research must be submitted with a TurnItin Report. For more on

plagiarism, responsible use of resources and TurnItIn reports see Section 5.

Ethics Clearance & Your Proposal

A very important part of your research development journey is understanding and getting ethics clearance on your research.

→ The ethics applications should be part of your proposal planning and closely linked to your research methods.

All students must apply for ethics clearance. More extended applications are expected from those who may be using methods that include interviewing people, studying user interactions or working with animals or even getting resources from parties such as private companies.

Though it is part of your proposal development and planning, the ethics clearance application is made separately and after your proposal has been accepted. Importantly:

→ See Section 5 on Research Ethics and Ethics Clearance.

→ You cannot apply for an ethics clearance without a certificate showing that you have attended the mandatory ethics training.

→ You cannot submit your final research for examination without ethics clearance.

PROPOSAL PRESENTATION & THE READER_ Proposal Presentation

All MA proposals are formally presented at a department-wide Proposal Seminar around July (for Feb enrollment) to an audience of readers, guests, other supervisors and other MA candidates.

The Reader

Part of the requirement for a proposal presentation and before the proposal can be submitted, is that it is read and receives feedback from an expert in the field, this person is called the Reader.

Why have a Reader?

Between the student and the supervisor the working process often becomes focused on solving problems in the proposal and getting the resources and methods right. Therefore the advantage of a Reader is that they come in with completely fresh eyes and can quickly see if there is anything missing or if there is something that can be improved on that both the supervisor and the student may have missed.

Your supervisor appoints the Reader for your proposal, finding the right person who knows the field and topic well. The Digital Arts Dept. uses what is called the ‘internal readers process’, meaning that a Reader is appointed from inside Wits University, this can be from the same or different Dept. or School, depending on the topic.

Internal Reader’s Process & Report

Firstly the Reader must receive a written version of the proposal before your Proposal Presentation (at least two week before, giving them time to review it). The Reader then attends the proposal presentation to hear you present it and to make sure there is a collation between what you are saying and what is written.

The Reader gives feedback in two ways:

1. Direct feedback and questions at the presentation, which is a chance for them to discuss with you certain insights or concerns.

2. A formal readers report, which is also submitted with your proposal submission to Faculty.

There are four possible outcomes from a proposal presentation and readers report:

1. They think it is amazing and say as much in the report that gets submitted immediately with your proposal to the Faculty.

2. They think it’s good, but make recommendations for changes or additions. Usually in this case the Reader is happy for you to work with your supervisor to make sure these changes are done, and the supervisor writes a supporting letter with the Readers report to confirm that the recommendations have been met.

3. They think it needs more work, and make recommendations for more extensive changes. In this case the reader will work with the supervisor to decide if

they should read the proposal again before finalising their report, or if the supervisor can support this.

4. They don’t think it is an acceptable proposal at all, this is a very rare outcome! If you have been working with your supervisor it is VERY unlikely that you will come to this point. But it can happen! In this case the candidate is either advised to not continue or must start the process from scratch.

PROPOSAL SUBMISSION_

Your proposal must get submitted and approved by the Faculty before you can formally continue. If you have a good readers report and sign off from your supervisor it is highly unlikely that it won't go through - so don't worry!

Your MA research proposal is submitted via your supervisor, who sends it via the Dept. Postgraduate coordinator to Faculty. The submission must contain:

● A Proposal Submission Form, completed by you, your supervisor and the Reader.

● The Reader’s Report.

● Final Proposal, with proper title page listing your student number and supervisor.

● A letter from your supervisor confirming that the readers recommendations have been met or any further motivations required.

● A TurnItIn Plagiarism Report on your proposal.

● Statement of Principles for Postgraduate Supervision, signed by you and your supervisor.

9.4. THE DISSERTATION & CREATIVE PRACTICE DEVELOPMENT

Getting to this point is exciting and means that you have done alot of the hard thinking and planning through the proposal and now it's time to get to it!

Once you receive notification that your proposal has been approved by the Faculty, you need to apply for ethics clearance and also get busy with your research.

GUIDING YOUR RESEARCH DEVELOPMENT_

There are a number of mechanisms that will help you and support you in the research development and finalisation process which include a schedule of research development workshops (JulyNov) & research focused engagement through the departments Seminars on the development of research (see Research Support sessions in Appendix A).

Most importantly at this phase is just to keep working - keep researching, keep making and keep writing.

Check in regularly with your supervisor and make sure you have set up a work plan that first your methods and planned pace

towards your final deadline. See more on how to work with your supervisor in the final stages in Section 4.

FINAL RESEARCH SUBMISSION_

Congratulations! You are nearly a Master!

It is very important to note that having your supervisor confirm that your MA is ready for examination, will generally assure that the examiners will think the same. So be sure to get final drafts confirmed (in good time) by your supervisor before submission. Examiners to address the following in the written work:

→ Research Question and Creative Goals

→ Situating the research within a field, and integration of theory into the work.

→ Engagement with research methodology and formation of research inline with method.

→ Research and argument structure.

→ Depth of engagement, critical application of research and advancement of knowledge.

→ Clarity, consistency and coherence of style and language.

Additionally for MA’s that have a Creative Practice component, this must also be examinable and in a suitable examinable format. If the creative component is in a physical format - ie. physical exhibition, physical artwork or screened or VR work, your supervisor needs to arrange for the work to be viewed and assessed by both examiners - so be sure to work closely with them on this. The Digital Arts marking rubric asks the examiner

to address the following when examining practice and / or creative research:

→ Has the candidate generated, processed and articulated ideas at an appropriate level for a Master’s degree?

→ Did the work display advanced technical and conceptual skills and knowledge within contemporary practice through diverse approaches?

→ Did the candidate present a coherent body of work that is appropriate and considered within the relevant discipline in terms of conceptualisation and process/production/presentation?

→ Does the work demonstrate sufficient development, in-depth exploration and understanding of the chosen research question through the choice of methodology?

→ Does the work lead to new or improved insights and/or to new or improved solutions, devices, products, processes or uses?

Does the work have contemporary relevance?

Your final written submission is submitted directly to the Faculty and must include the following:

*NB: Work with your supervisor for a plan for the submission of practice work and its respective documentation.

● 1 Electronic Copy in both word and PDF format.

● The plagiarism declaration page must be inserted, signed.

● Ethics clearance number be included where applicable.

● Supervisor’s Consent Form, completed and signed.

● Student Submission Form. completed and signed.

● Brief supervisor’s report indicating student’s progress which is kept on student’s file.

● A TurnItIn Plagiarism Report on your written submission.

Deadlines & Extensions

If it looks like you are not going to make the annual 15th of February research submission deadline (1 year following enrollment for fulltime and two years following enrollment for part-time - do double check your expected submission date), you can work with your supervisor to apply for a month’s extension.

If however you and your supervisor think you need a longer extension is more than a month later - ie. after the 15th of Marchthen you will be required to re-enrol and pay for following year.

All Wits School of Arts and School of Human and Community Development submit to: Phillimon.Mnisi@wits.ac.za

*NB Large Documents & Files: Where a document is too big to be submitted electronically, WeTransfer can be used or arrangements can be made with the Faculty Officer to submit manual copies on a drive.

FINAL MA EXAMINATION PROCESS_

All Research MA’s are examined by both an internal (in Wits University) and external examiner (from another university or

institution). Examiners are appointed by your supervisor two months before submission and approved by the Faculty.

→ An examiner is generally appointed based on their qualifications and knowledge or history with the topic of the field of the MA in question.

What to Expect in the Examination:

There are four possible outcomes from examination where the examiners agree:

1. They think it is amazing, give you an excellent mark and expect no changes or corrections - in this case sit back, have a glass of bubbly and wait for your graduation.

2. They think it’s good, but needs corrections as changes or additions. Usually in this case the examiners are happy for you to work with your supervisor to make sure these changes are done, and your supervisor will write a supporting letter to confirm that corrections have been made.

3. They think it needs more work, and make recommendations for extensive changes. In this case examiners may decide to reexamine before finalising their report.

4. They don’t think it is acceptable at all, this is a very rare outcome! If you have been working with your supervisor it

is VERY unlikely that you will come to this point. But it can happen! In this case the candidate is either advised to not continue or must start the process from scratch.

On some occasions an internal and external examiner will have very different marks and recommendations, in this case if there is a big discrepancy, Faculty engages a new set of examiners and it is reexamined in full.

10. HONOURS RESEARCH: Timelines & Processes

10.1. GUIDING YOUR DEVELOPMENT & TIMELINES

The Digital Arts Honours is a research and coursework programme and can be taken in one of three subject areas: Animation, Interactive Media, Interactivity & Writing or Game Design.

As presented in the overview section, this coursework programme includes:

1. A one year written research project, either as Digital Arts Research Project or Long Essay. *see more below.

2. A year long Digital Arts Creative Project.

3. A semester long theory course: Digital Arts Theory.

4. One 4th year / honours level course in either Animation, Game Design, Interactive Media or Writing & Interactivity - these are to be taken at either ‘introductory - year long’ or ‘advanced - semester long’ level - on advice of the supervisor and based on the applicant's academic history or experience in the respective field.

All courses apart from the Long Essay or Research Project and the Digital Arts Creative project run as normal courses within a weekly class timetable, associated assignments and exams. The following outlines details on the more ‘research’ oriented courses the Long Essay & Research Project and the Digital Arts Creative Project

C.H.I.P (Counter Human Independence Protocol) (2020), Wits Student Project: Matthew Brown, Eric Gardiner, Thishen Packirisamy, Brendan Jackson, Ryan Van Zyl, Brenton Budler. Source: Early Access Exhibition

10.2. RESEARCH PROJECT & LONG ESSAY CHOOSING_

The primary difference between the Long Essay and the Research Project is how it is done and the level of academic and research experience you need.

→ The Research Project is when a student joins a research group exploring a particular supervisor's research topic. Topics are updated annually and are aligned to research being conducted in the Department. See the 2023 research projects listed in Appendix B.

→ The Long Essay is done by a student when they want to propose and write on their own very specific topic. Importantly, students wanting to take this route should have experience in research and academic and have an above 70% average in their previous theory courses. Students wanting to do the Long Essay must apply with an expression of interest on the topic they want to write on.

HONOURS RESEARCH STEPS & PROCESSES_

The Research Project and Long Essay have key steps that must be met for their development, see below two tables outlining these expectations for both the Research Project and the Long Essay:

Steps - RESEARCH PROJECT

Timeline Action

Choosing a Research Group Feb / March Students will review research group details (Appendix B) and select the top two groups they are most interested in joining.

Supervisors will review the selection and assign students to groupsgenerally students will be placed in their top 1.

Research Group Seminars & Contributions

For two to three quarters: 1, 2, 3 or 4 depending on your group.

Your research group supervisor will inform you directly of their planned seminars, assignments or expected contributions. Each group works differently based on the content being covered and the supervisors schedule.

Essay Development July - October

Your supervisor will work with your group to identify and set a timeline for the essay portion of the group.

Final Submission Examination

November All final submissions are examined in November.

Steps - LONG ESSAY Timeline Action

Submitting an Expression of Interest March In the first weeks of the 1st term through Ulwazi.

Long Essay Proposal Development March - June Long Essay candidates will work with supervisors to develop a proposal. Long Essay candidates can also join the MA proposal development workshops, see Appendix A. The proposal is marked, and contributes to your final Long Essay mark.

Long Essay Development July - October Long Essay candidates will work with supervisors to complete their long essays. Supervisors will lead students on how many drafts are expected.

Final Submission Examination November Long Essays are externally examined.

PLAGIARISM & ETHICS FOR HONOURS_ Plagiarism and Responsible Resource Use

In all academic work plagiarism is an offence that can lead to you being excluded from the university.

For this reason it is important that you work with your supervisor to understand and implement good referencing practises throughout. Additionally Long Essay candidates are required to get ethics clearance for their work. See more in Section 5.

10.3. DIGITAL ARTS CREATIVE PROJECT

The Digital Arts Creative project at Honours and 4th Year Level is a year long project in which you get to develop a single creative output. This is an excellent opportunity for research orientated creative work and can be linked to your Research Project or Long Essay, but can be independent of this too.

You will be given time in the beginning of the year to work on a concept. Following this each student is assigned a mentor to work with across the year.

Your key milestones are three crits sessions, one in the 1st quarter and the next two in the 3rd & 4th quarters.

The creative projects are examined by a panel of both internal and external examiners and will be showcased at the end of the year Exhibition, which usually take place around the 25th of November

APPENDIX A: 2023 MA PROPOSAL DEVELOPMENT WORKSHOP & SEMINAR SERIES SCHEDULE (SEM. 1)

INTRODUCTION to Research at Wits Digital Arts with Supervisors & in Process MA’s and Research Groups

27 FEBRUARY 2023 4pm - 6pm

Digital Arts Dept.

- Quick overviews on Research Being conducted in the Dept. by in Process MA Students & Supervisory Staff

An introduction to Proposal development expectations and short initial expressions of interest.

- Follow this session by sending your initial expressions of interest to Dr. Bristow by end of Wednesday 1st March on ULWAZI

WORKSHOP 1: THE PROPOSAL & RESEARCH QUESTION

6 MARCH 2023 4pm - 6pm

Digital Arts Dept.

- Start with Supervisor Allocation Announcements

Time to lay the groundwork for the daunting, difficult and hugely important proposal. If you get it right, it will help the whole research process.

- Research questions to be submitted for discussion and unpacking in the next session.

WORKSHOP 2: AIM & RATIONALE 20 MARCH 2023 4pm - 6pm Digital Arts Dept.

After getting your research question down, exploring why you are pursuing that question and where it fits in the bigger picture is a crucial part of your contribution.

- Draft Aim and Rationale and submitted for review in the next session.

WORKSHOP 3: THEORETICAL FRAMEWORKS & LIT REVIEWS.

3 APRIL 2023 4pm - 6pm

Digital Arts Dept.

CHECK IN SESSION: LIT REVIEW & THEORETICAL FRAMEWORKQUESTIONS / DEVELOPMENT, ETC.

17 APRIL 2023 4pm - 6pm

Digital Arts Dept.

WORKSHOP 4: RESEARCH METHODOLOGY

24 APRIL 2023 4pm - 6pm

Digital Arts Dept.

- The nitty gritty of theory and literary resources. Getting stuck in here will help you not only structure and think through your argument, but also defend them.

A check in with the whole MA cohort post the research break. Exploring the Lit Review & Theoretical Framework - answering questions, solving structural problems & peer to peer literature support.

The way you conduct your research is important. The methodology section of your proposal is where this is outlined and described. Session led by Dr. Duncan from IACS

WORKSHOP 5: PRACTISE WORK EXPECTATIONS

8 MAY 2023 4pm - 6pm

Digital Arts Dept.

If your research includes a practice component, it is important to understand what the examinable expectations are for it and how it should relate to your written contribution. A section of your proposal will need to address the practice component of your research.

SHUT UP & WRITE GROUP READINGS (VARIOUS)

VARIOUS TBC We will be running various reading and writing groups during this time. They will be less compulsory than the workshops, but you are encouraged to participate as much as you can. The MA is a lonely process and the more help you have from your peers the better!

APPENDIX B: 2023 HONOURS RESEARCH GROUP CHOICES

LEAD TITLE & PARTNERS QUARTER DESCRIPTION

Kieran Reid Games as History, Argument, Nostalgia and Memory

2, 3 & 4

This seminar-based course focuses on understanding how (and why) games can be understood as an argument, a historical archive, or as access to nostalgia and memory.

Throughout the course, students will be expected to interrogate how we, as players, can engage with the past through the act of play. This is both in the content of the game (historical games) and in the playing of older games. In doing so, the project aims to interrogate how play can be a form of cultural history and investigation. The course will expect students to play various games (digital and analogue). Through the analysis of the play event, students will develop an understanding of how we might read play in diverse ways. The project will culminate in students presenting a research report (written or recorded or in other accepted forms) that situates their thinking of arguments, history, nostalgia and memory in games.

NO. & REQUIREMENTS

NO. IN GROUP: 10 - 15

NFT, Blockchain & the Metaverse

In collaboration with the MA research cohort which includes:

Angus Davidson

2, 3 & 4

Research projects for those interested in NFT’s, Blockchain and the Metaverse and what these emerging technologies can offer towards an experience of the University, research and culture and creativity in South Africa.

Students will join a team of researchers to unpack the definitions, values, failures and opportunities in these

NO. IN GROUP: 8 -10

An interest in the emerging technologies and their impact on a pan African and international digital economy and digital culture.

Andre Gopal / Dr. Tegan Bristow

In collaboration with Film & TV Dept.

1 & 2

emerging technologies. You will also engage in assisting Fak’ugesi African Digital Innovation Festival in a toolkit and focus on NFT’s and Blockchain uses.

Skills required: research, hunger for new knowledge, exploration, experimentation and a bit of building out concepts in notion.so

The research project offers an exploration of different forms of immersive media including cinematic virtual reality (VR), and augmented reality(AR). We explore various approaches to immersive and interactive filmmaking. This is with the intent of expanding students understanding of immersive and interactive filmmaking and its relationship to music and video art. This course is designed to frame the exploration of immersive and interactive filmmaking around a single piece of music (lyrical or orchestral).

In the first semester, both digital arts students and film and TV students will study immersive media (VR & AR). Students will collaborate in groups on a virtual reality film and an augmented reality experience both designed around the same piece of music.

The Afromanga research project consists of a practical and theoretical component - both of which work together to investigate Africa’s potential in the global comics and manga industry. In this course, you will learn the fundamental theoretical principles behind comics and manga as a cultural phenomenon and creative discipline. You will also interrogate the value, impact and potential of African comics and manga on the global industry, and vice versa.

Note that although there is a writer-artist split in production teams, we expect you to have an acceptable skillset in both spheres. Should you like to be a part of

Yianna Yiannakis Matthew Cresswell

Tim Flusk / Tiisetso Dlala

VR and AR Film

NO. IN GROUP: 10 - 16

Jess Alexander & Tamara Tesoriero

Afromanga Vol. 3 1, 2 & 3

NO. IN GROUP: 16

Concurrently, you will be working in teams of two students to produce a unique Afromanga that follows the theme ‘Local is Lekka!’ from start to finish. These teams will be comprised of a writer and an artist, who share duties and responsibilities as part of the production team. This part of the project aims to emulate a deadline-driven and collaborative studio environment, which includes marketing campaigns, outreach initiatives and eventual publication in this year’s compendium.

We'll need competent writers and artists, so we are asking for portfolios during the application process. We need strong writers that can work visually and in short-format; and we’re also looking for unique aesthetics, rather than copy-paste manga, so diversity in style is highly encouraged.

To learn more about Afromanga, you can visit our website here:

https://bloodsweatandinkam.wixsite.com/blood-sweat-a nd-ink

the project, please submit a portfolio containing:

A page-long script of dialogue between two characters. Remember to employ principles like characterization, tone and pacing.

A maximum of 10 drawings in a manageable format (.png .jpg .pdf .pptx .docx etc.). At least one of these drawings must be a polished piece of art.

The portfolio must contain samples of both your writing and your art. You can send this via email,

Tamara:

1829735@students.wits.ac.za

Jess:

1683476@students.wits.ac.za

The course offers students from diverse disciplinary backgrounds the opportunity to investigate digital formations and life worlds using critical perspectives that have been developed within the ambit of the Critical Digital Humanities. This seminar-based module is

Benita De Robillard Digital Humanities (IACS) 1,

3, 4

organised around the question of ‘The Digital Self’. To this end, it explores the ways in which digital selves and bodies are produced within, and through, digital networks and platforms. Investigating the forms of digital selfhood that are made and distributed across different social media platforms, we will identify and analyse the situated ethical, political, and material, effects these body-network assemblages produce. The course takes its impetus from intersecting queer, feminist, and anti-racist, approaches to the question of life-technology intervolvements to reflect on how digital formations might both constitute and/ or frustrate the anti-capitalist, feminist, and decolonising, projects that are necessary to (re)shape the terms of a ‘Fourth Industrial Revolution’; a conjuncture that is conditioned by platform capitalism. The course provides students with opportunities to hone their research, project development, and reporting, skills.

OPEN (Apply to IACS)

Haseenah Ebrahim FILM STUDIES IV (IACS)

topic considers some of the developments in digital media culture that have facilitated shifts in cinematic practices of production, distribution and consumption.• Cinema in South AfricaThis topic includes selected readings on production, consumption, representations and other related aspects of cinema in the broader African context as well as on South Africa specifically. It will focus on cinema or film culture in South Africa, including challenges facing South African filmmakers, questions of national identity or regional filmmaking,

APPENDIX C: 2023 ETHICS PANEL SUBMISSION & SITTING DATES

HREC (NON-MED) SUBMISSION DATES FOR 2023 MONTH