Case studies of technology roadmapping in mining

Mining is a long established art with legacy processes and institutional structures that face rapidly changing technological environments. The perception is that technology planning and forecasting receives priority attention only as far as they may be linked to making production tonnage in the short term, thus giving the impression that new technology may be introduced without developing a culture and operational requirements that influence successful implementation of new technologies. With depleting ore grades of existing mines, and the prevailing global financial crisis making it prohibitive to develop richer sources, mining is considered to be short-term risk averse and this accentuates a more conservative approach towards technology planning and forecasting. Based on surveys and interviews with practicing miners, this paper discusses three case studies on the practice of technology planning and forecasting in mining firms. It is evident that technology planning and forecasting, and particularly the use of the roadmapping approach, is not a ‘culture’ common to mining firms.     

‘Shoot with your pen’: Isaac William(s) Wauchope’s Ingcamango Ebunzimeni and the power of speaking obscurely in public

This article explores Ingcamango Ebunzimeni, a collection of poems published in the latter months of 1912 by the African intellectual and missionary Isaac William(s) Wauchope (1852–1917). Wauchope is most prominently known for having written a poem that, among other things, incites his peers to ‘take paper and ink’ and ‘[s]hoot with your pen’. Ingcamango Ebunzimeni is a peculiar moment in the life and writing of Wauchope. In a remarkable series of events, Wauchope served a two‐year prison sentence in Tokai between 1910 and 1912. In the argument that follows, I raise a number of issues regarding the circumstances leading to the writing and publication of Ingcamango Ebunzimeni. Taking as a point of departure Wauchope’s seeming reluctance to explicitly engage his feelings about his imprisonment, I suggest that speaking ‘obscurely’ within a public context allows Wauchope to make utterances that begin to contest, in very complex ways, the fall from grace occasioned by his imprisonment. Wauchope’s poems address themselves to a context where the recent events of his life give rise to dire tensions between the dominant colonial version of his life story that holds him to be a ‘masquerading minister’ and its resistive corollary which seeks to redeem him as the unwilling victim of an unremorseful social order that, having generated a class of Christianised Africans as an example of civilisation, casts them down as a symptomatic failure of the very same process. Indeed, it is in addressing himself to both spheres of meaning simultaneously that Wauchope defines the complexity of Ingcamango Ebunzimeni.