Business information created and stored in multiple software systems can be difficult to manage and manual processing is historically the only way to integrate data from multiple databases.
Afrisoft offers an automated solution for data integration that deals with the timing and verification of data movement as well as with the data format changes required to post data originating in one system into another. The benefits of this automation are extensive, including increased accuracy and flexibility, reduced administration and rework costs, more efficient processes and more accurate reporting.
Afrisoft utilises Dataswitch to standardise and automate the flow of information between disconnected software systems within a business or with supplier and customer systems outside of the business. Integration using existing EDI standards or custom tailored for the systems you use is possible. Integration processes may be automatically triggered by specific events, such as receipt of a customer order, or on a reoccurring schedule. Integration transactions are logged as they occur with Dataswitch providing processing dashboards to review activity and automated alerts via email or text messaging if the system detects a processing problem.
If you have data integration challenges, or you would just like to improve your process automation, contact us to talk about how we can help you.
Production Tracking or Shop Floor Data Collection is crucial for successful management of not only production processes but also of stock and physical and human resources.
Production environments offer differ significantly from each other and it is difficult to find a one-size-fits-all solution. The Afrisoft team has significant experience in this field in both discrete and bulk manufacturing and packing environments, and can assist in determining the best data collection points to enable you to achieve the results you require.
Some customers require accurate tracking of material issues and job receipts while others are happy with a simple backflushing process. Time tracking is an important requirement in some environments while on others only material tracking is required.
Afrisoft has the team and the experience to help you determine which option suits your requirements best. We will guide you through the process of determining what data to capture, when to capture it and what information needs to be sent to your business system (ERP).
Afrisoft Africa focuses on building and using technology to solve real-life problems. We work with each customer to configure software, hardware, develop custom labels and reports, and assist in building processes that fit into your current processes and systems, rather than forcing new processes on your organisation.
If you have production tracking challenges, or you would just like to improve your process flow, contact us to talk about how we can help you.
Just a little further on from Cape Town’s well-known Muizenberg beach is St James. Home to a cluster of well-known and oft-photographed bathing boxes on the beach, St James is a picturesque area that offers beachgoers respite from the westerly wind.
St James is one of Cape Town’s smaller suburbs, yet it has a rich history. Thanks to a publication put together by St James historian, Michael Walker, the history of some of the original homesteads built between Muizenberg and St James in 1883 has been recorded.
Just next to St James, is Kalk Bay. Part-sleepy fishing village and part-buzzy high street, Kalk Bay’s eclectic mix of people, historic buildings, cobbled streets, bohemian bric-a-brac shops, vintage bookstores, art and antique galleries, colourful fishing vessels and excellent restaurants is what makes it so unique and charming. Kalk Bay is a fishing village on the coast of False Bay, South Africa and is now a suburb of greater Cape Town. It lies between the ocean and sharply rising mountainous heights that are buttressed by crags of grey Table Mountain Sandstone. A gem on the False Bay coastline, Kalk Bay is known for its raw beauty, interesting shops, vast selection of restaurants and stunning views. You could easily spend a full day in this little neighbourhood and still not be able to experience it all!
2/12: Exclusive and private, wake up to the silence of a beautifully lush garden, viewed through cottage pane French doors
'It is comparatively easy to set up a basic model for epic theatre. For practical experiments I usually picked as my example of completely simple "natural" epic theatre an incident such as can be seen on any street corner: an eyewitness demonstrating to a collection of people how traffic accident took place.' Bertold Brecht, 'The Street Scene' Published in Willets, J. 'Brecht on Theatre', London, 1964. Gerard Byrne, Various views from the corners of Meeker and McGuinness Blvds, 2000 - ongoing, Fuji Crystal Archive prints, 50.8x61 cm. Courtesy of the artist
The current inflation of art practice that combines references to pop culture with modernist aesthetics has resulted in a profusion of works that, through a simple (sometimes simplistic) play of contrasts, reflect postmodern nostalgia -
Gerard Byrne's works include a multitude of popular references (science fiction, luxury cars, Playboy magazine, sexual practices, Frank Sinatra and familiar French intellectuals) and adopt a polished, modernist aesthetics, but he avoids focusing on simple contradiction or offering any hint of mourning, either for a past or present reality.
Byrne makes photographs, videos and installations of pristine appearance, adopting as a starting point published texts (interviews, roundtable discussions, advertisements or theoretical essays). These are then articulated in relation to modernist aesthetics, both in the 'content' of the artworks (through the use of a specific architectural background, for example) and their 'form' (through the works' clean, stylised presentation).1 Probably the most immediate and productive way to approach Byrne's work is by drawing a comparison with Bertolt Brecht's notion of epic theatre. Two recent videos, Homme à Femmes (Michel Debrane) (2004) and *ZAN-*T185 r.1: (Interview) v.1, no. 4 - v.2, no. 6 ... no. 21 - v.3, no. 9. (2007), make the parallels between the two especially evident. Both works restage interviews with famous people (or people who aspire to be famous) that were originally printed in periodicals, and in both the setting is similar: an actor, who plays the role of the interviewee, occupies the frame, and answers questions posed by an invisible interviewer. In Homme à Femmes the screen shows a white-bearded, elderly man answering questions in French to
These characteristics were evident in Byrne's recent exhibitions at the Irish Pavilion at the Venice Biennale (10 June-21 November 2007) and at the Kunstverein für die Rheinlande und Westfalen in Düsseldorf (5 May-8 July 2007). Most of the works I will be referring to throughout the text were included in these two shows.↑
Brecht, in 'The Street Scene', proposes a 'simple' model for epic theatre, which is presented as the opposite of Aristotelian theatre. The latter aims to provoke an empathy between the audience and the protagonist, and a subsequent resolution through catharsis: actors are meant to faithfully mimic the characters they represent, so that the audience is irreflexively transported to a fictional world. Brecht maintains that theatre needs to do the opposite: it has to be clearly recognisable as theatre, as artifice, as fiction. Epic theatre needs to abandon classical theatre's fourth wall, and present situations in such a way that the audience realises that there is no necessity to them, so they become aware of their own social context and of the possibility of political change. See Bertolt Brecht, 'The Street Scene', Brecht on Theatre. The Development of an Aesthetic (trans. and ed. John Willett), London: Methuen Drama, 1964. Byrne also references Brecht explicitly in In Repertory (2005) - this time Mother Courage and Her Children (1939).↑
Pohl Anderson, Isaac Asimov, James Blish, Ray Bradbury, Algis Budrys, Arthur C. Clark, Robert Heinlein, Frederick Pohl, Rod Sterling, Theodore Sturgeon, William Tenn and A.E. Van Vogt. The conversation was printed in Playboy in the July and August 1963 issues.↑
One of the best ways to understand Rancière's conception of the relation between documentary and fiction within art practice is through the films of Pedro Costa. These aren't just the simple depiction of the daily goings of heroin addicts and jobless immigrants from Cap Verde in Lisbon; they show these characters in a different position. For example, a former worker in the building trade by the name of Ventura is shown in Juventude em Marcha (2006) 'as a sort of lord coming from a distant country and a remote time', that is, as someone capable of questioning the order of things by adopting a role that is not his. J. Rancière, 'Image, Relation, Action: Questions About the Politics of Art', unpublished manuscript, n.p.↑