After unknown saboteurs toppled a strategic pylon near Lethabo Power Station in the Free State in November 2021, almost causing the country to plunge into stage 6 load shedding, Eskom’s chief executive officer André de Ruyter declared: ‘This was clearly now an act of sabotage and I think we can call it as such.’ Who was behind this, and what is their ultimate goal?

Since his appointment in January 2020, De Ruyter has faced intense opposition from within the power utility as he attempts to clean up corruption and return the electricity company to a semblance of its former glory. He is not alone. Chief operating officer Jan Oberholzer and other trusted allies in Eskom have also come under intense fire. From forensic investigations and botched probes to accusations of racism, De Ruyter and Oberholzer have spent significant amounts of time fending off allegation after allegation. Amid this onslaught, it has become clear that their enemies will take any measures necessary to have them removed from office.

Based on exclusive interviews with De Ruyter, Oberholzer and other key figures, Sabotage is a story of conspiracy and subterfuge at South Africa’s ailing power utility, uncovering the power struggles that threaten the country’s very survival.

Electronic Assistive Technology (EAT) is a subset of a wider range of products and services known as Assistive Technology (AT). AT is designed to support and enable people with disabilities, either acquired or congenital, to participate in activities with greater independence and safety. With a global aging population, it has an important role to play in enabling and supporting those with disability and their carers. Handbook of Electronic Assistive Technology discusses a range of commonly available or emerging electronic assistive technologies. It provides historical background, advice when assessing for these devices and references different models of provision. It includes both medical and engineering aspects of provision. It is anticipated that the book will support students, trainees, and newly qualified Assistive Technology Practitioners to develop their understanding of the field, by considering the variables that could potentially influence the decision-making process when assessing for and providing this equipment. It also provides a reference point for those already practicing in this field and offers coverage of a broader range of technologies than clinicians may be exposed to, in their daily work This is the first reference book to focus on a comprehensive set of electronic assistive technologies and discuss their clinical application.

I’ve been tackled by defensive linemen twice my size and sprinted into end zones with thousands of fans screaming my name, but nothing―and I mean nothing―could’ve prepared me for Blakely.

I should have known from the first time we met that she’d change everything for me. How could she not? A woman bold enough to break into my house and attempt to steal from me isn’t exactly someone you forget and move on from.

So, when I’m asked, or told, to find a wife, I know it has to be her.

That’s supposed to be all it is. She needs somewhere to live, and I need the headlines. But what starts as a simple arrangement quickly becomes something far more complicated. Blakely is guarded, unpredictable, and protective of those she loves. The more time I spend with her, the more I realize this isn’t about my career anymore.

With just two months on the clock, can I break down her walls before she breaks my heart?

Modernity, as has often been observed, was fundamentally concerned with questions of temporality. The period around 1900, in particular, witnessed numerous efforts to define, discipline or 'liberate' temporal experience. Within this broader framework of thinking about temporality, 'rhythm' came to form the object of an intense and widespread preoccupation. Rhythmical research played a central role not only in the reconceptualisation of human physiology and labour in the late nineteenth century, but also in the emergence of a new leisure culture in the early twentieth. The book traces the ways in which notions of 'rhythm' were mobilised both to conceptualise modernity (narrate its origins and prescribe its directions) and, in particular, to forge a new understanding of temporal media that came to mark the mass-mediated experience of the 1920s: a conception of artistic media as mediators between the organic and the rational, the time of the body and that of the machine. Michael Cowan is Associate Professor of German and World Cinemas at McGill University. He is the author of Cult of the Will: Nervousness and German Modernity (2008), as well as several articles and collections on German literature, film, media and cultural history.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.