From June 28 to July 7 the National Arts Festival took place in Grahamstown, South Africa. For the 20th time Cue, a daily print newspaper about the Festival, was produced by Rhodes University journalism students. It was the first time that the newspaper was printed in full color. Cue is at the core of journalistic production during the Festival. But nowadays, what is a newspaper without pictures or without an online edition? Cue Pix, run by the photo department at the School of Journalism and Media Studies in the AMM (African Media Matrix) provides the pictures. Cue Online is run by the NML (New Media Lab) in the same building and is mostly shoveling print content online. Cue Radio and Cue TV take care of the audio and video, and broadcast during the Festival. Up to 2000 copies of Cue newspaper were printed daily with the number of sold copies around 1600. The newspaper was sold in the Grahamstown streets for 3 Rand. The number of pages of Cue ranges from 16 to 20, including advertisements. Cue is produced by students and lecturers of the School of Journalism and consists of about 50 student-reporters, 10 sub-editors, and 2 editors (who are generally University staff). The productions layout is taken care of by a group of design students. Twenty students from the photo department take care of the pictures and rework them with Adobes Photoshop. Cue TV and Cue Radio (with a total of about 10 students) brought their reporting skills to the Festival as well. Reporting about the Festival by Cue is a major happening that has been growing over the years. From print to TV, to radio and online. This is fantastic, but also reflects equal problems in the media industry: each media platform runs their own show. Print, TV, radio and photography: they all have their own targets, content production, and some coordination. In order to take full advantage of the different possibilities of all the media platforms, convergence is the keyword.
From June 28 to July 7 the National Arts Festival took place in Grahamstown, South Africa. For the 20th time Cue, a daily print newspaper about the Festival, was produced by Rhodes University journalism students. It was the first time that the newspaper was printed in full color. Cue is at the core of journalistic production during the Festival. But nowadays, what is a newspaper without pictures or without an online edition? Cue Pix, run by the photo department at the School of Journalism and Media Studies in the AMM (African Media Matrix) provides the pictures. Cue Online is run by the NML (New Media Lab) in the same building and is mostly shoveling print content online. Cue Radio and Cue TV take care of the audio and video, and broadcast during the Festival. Up to 2000 copies of Cue newspaper were printed daily with the number of sold copies around 1600. The newspaper was sold in the Grahamstown streets for 3 Rand. The number of pages of Cue ranges from 16 to 20, including advertisements. Cue is produced by students and lecturers of the School of Journalism and consists of about 50 student-reporters, 10 sub-editors, and 2 editors (who are generally University staff). The productions layout is taken care of by a group of design students. Twenty students from the photo department take care of the pictures and rework them with Adobes Photoshop. Cue TV and Cue Radio (with a total of about 10 students) brought their reporting skills to the Festival as well. Reporting about the Festival by Cue is a major happening that has been growing over the years. From print to TV, to radio and online. This is fantastic, but also reflects equal problems in the media industry: each media platform runs their own show. Print, TV, radio and photography: they all have their own targets, content production, and some coordination. In order to take full advantage of the different possibilities of all the media platforms, convergence is the keyword.
In 1875 explorer Henry Morton Stanley (UK 1841-1904) produced a photograph of Kabaka (King) Muteesa of Buganda (UG, 1838-1884) and his chiefs. Muteesa’s land was positioned on the northern shore of a body of water that we now call Lake Victo-ria, in a country that would later be named after his kingdom. The three prints of Stanley’s photograph are part of a larger collection that was acquired by the King Baudouin Foundation. They are now in the collection of the Royal Museum for Cen-tral Africa in Tervuren, Belgium.In Uganda, when I broached the subject of this important - in my opinion - historical photograph, almost no one seemed to know about it. But everyone had seen inter-pretations of the image.An engraving based on the photograph of Kabaka Muteesa and his chiefs can be found in a book about Stanley’s journey through East Africa. Here, the faces of the men have been changed. They no longer look like Baganda (subjects of the king of Buganda). The king was, in Stanley’s observation, the light of Africa: a man one could depend on to develop the continent. I therefore assume that the men in the photograph were made to appear not so different from a white British man: the latter would then be able to identify with Muteesa and his chiefs. I consider this engraving to be a misinterpretation of the photograph. In addition, I take the relatively unknown status of the original photograph in Uganda to be symptomatic for the rather exclu-sive preservation of documents that matter to the African continent in the West.I invited artists and art-students to make their own interpretations of Stanley’s photograph in an attempt to add multiple interpretations to the misinterpretation in Stanley’s book.Film credits: Camera and edit of ‘It’s Lukiiko Time’: R. Canon Griffin and Andrea StultiensPuzzling: Andrea StultiensNarration 1 with puzzle: Karis Upton reads Henry ByrneNarration 2 with puzzle: Vasilis van Gemert’s readingScenario of the King’s pictures: Words and reading: Margaret Nagawa. Pictures (in order of appearance): James Augustus Grant, John Hanning Speke, Violet Lynus Nantume, Stella Atal, Henry Morton Stanley, Evelyn Tennant Myers, Dorothy Stanley Tennant, Fred Kato Mutebi, Nathan Omiel, Matt Kayem, Jacob Odama, Papa Shabani, Emmanuel Lwanga, Eva Ddembe, Fred Ndaula, Ronex Ahimbisbwe, Muki-za, Henry Mzili Mujunga, Eria (Sane) Nsubuga, Daudi Karungi, Ian Mwesiga, Piloya Irene, Timothy Erau, Wasswa Donald, Migisha Boyd (b40deep), R. Canon Griffin
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The demand for mobile agents in industrial environments to perform various tasks is growing tremendously in recent years. However, changing environments, security considerations and robustness against failure are major persistent challenges autonomous agents have to face when operating alongside other mobile agents. Currently, such problems remain largely unsolved. Collaborative multi-platform Cyber- Physical-Systems (CPSs) in which different agents flexibly contribute with their relative equipment and capabilities forming a symbiotic network solving multiple objectives simultaneously are highly desirable. Our proposed SMART-AGENTS platform will enable flexibility and modularity providing multi-objective solutions, demonstrated in two industrial domains: logistics (cycle-counting in warehouses) and agriculture (pest and disease identification in greenhouses). Aerial vehicles are limited in their computational power due to weight limitations but offer large mobility to provide access to otherwise unreachable places and an “eagle eye” to inform about terrain, obstacles by taking pictures and videos. Specialized autonomous agents carrying optical sensors will enable disease classification and product recognition improving green- and warehouse productivity. Newly developed micro-electromechanical systems (MEMS) sensor arrays will create 3D flow-based images of surroundings even in dark and hazy conditions contributing to the multi-sensor system, including cameras, wireless signatures and magnetic field information shared among the symbiotic fleet. Integration of mobile systems, such as smart phones, which are not explicitly controlled, will provide valuable information about human as well as equipment movement in the environment by generating data from relative positioning sensors, such as wireless and magnetic signatures. Newly developed algorithms will enable robust autonomous navigation and control of the fleet in dynamic environments incorporating the multi-sensor data generated by the variety of mobile actors. The proposed SMART-AGENTS platform will use real-time 5G communication and edge computing providing new organizational structures to cope with scalability and integration of multiple devices/agents. It will enable a symbiosis of the complementary CPSs using a combination of equipment yielding efficiency and versatility of operation.
Post-earthquake structural damage shows that wall collapse is one of the most common failure mechanisms in unreinforced masonry buildings. It is expected to be a critical issue also in Groningen, located in the northern part of the Netherlands, where human-induced seismicity has become an uprising problem in recent years. The majority of the existing buildings in that area are composed of unreinforced masonry; they were not designed to withstand earthquakes since the area has never been affected by tectonic earthquakes. They are characterised by vulnerable structural elements such as slender walls, large openings and cavity walls. Hence, the assessment of unreinforced masonry buildings in the Groningen province has become of high relevance. The abovementioned issue motivates engineering companies in the region to research seismic assessments of the existing structures. One of the biggest challenges is to be able to monitor structures during events in order to provide a quick post-earthquake assessment hence to obtain progressive damage on structures. The research published in the literature shows that crack detection can be a very powerful tool as an assessment technique. In order to ensure an adequate measurement, state-of-art technologies can be used for crack detection, such as special sensors or deep learning techniques for pixel-level crack segmentation on masonry surfaces. In this project, a new experiment will be run on an in-plane test setup to systematically propagate cracks to be able to detect cracks by new crack detection tools, namely digital crack sensor and vision-based crack detection.
