In Luganda, the widest spoken minority language in East African country Uganda, the word for photographs is Ebifananyi. However, ebifananyi does not, contrary to the etymology of the word photographs, relate to light writings. Ebifananyi instead means things that look like something else. Ebifananyi are likenesses.My research project explores the historical context of this particular conceptualisation of photographs as well as its consequences for present day visual culture in Uganda. It also discusses my artistic practice as research method, which led to the digitisation of numerous collections of photographs which were previously unavailable to the public. This resulted in eight books and in exhibitions that took place in Uganda and in Europe.The research was conducted in collaboration with both human and non-human actors. These actors included photographs, their owners, Ugandan picture makers as well as visitors to the exhibitions that were organised in Uganda and Western Europe. This methodology led to insights into differences in the production and uses of, and into meanings given to, photographs in both Ugandan and Dutch contexts.Understanding differences between ebifananyi and photographs shapes the communication about photographs between Luganda and English speakers. Reflection on the conceptualisations languages offer for objects and for sensible aspects of the surrounding world will help prevent misunderstandings in communication in general.
There are significant differences between the words used for ‘pictures captured on light sensitive surfaces with the use of a camera’ in Luganda and in English. Ekifananyi is the Luganda word that is used to signify a photograph, but it does not mean a photograph. The noun “ekifananyi” is derived from the verb kufanana, meaning to be similar to. Based on this observation, Dutch artist Andrea Stultiens started to investigate the implications of this particular conceptualisation of photographs, which led to a series of eight books titled, “Ebifananyi,” the plural of the singular ekifananyi. In presentations of historical photographs from Africa, Uganda was—until recently—only mentioned in relation to photographs produced by non-Ugandans or members of the Ugandan diaspora. The first three books in the Ebifananyi series change this status quo by presenting photographs produced by Deo Kyakulagira (1940-2000), Musa Katuramu (1916-1983) and Elly Rwakoma (ca.1938).The photographic legacy of these men is activated in collaborations with family members and, in the case of Rwakoma, the photographer himself. Curator Andrea Stultiens and Ugandan artist Canon Griffin responded to the historical photographs in pictures and films.
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National forestry Commission (SBB) and National Park De Biesbosch. Subcontractor through NRITNational parks with large flows of visitors have to manage these flows carefully. Methods of data collection and analysis can be of help to support decision making. The case of the Biesbosch National Park is used to find innovative ways to figure flows of yachts, being the most important component of water traffic, and to create a model that allows the estimation of changes in yachting patterns resulting from policy measures. Recent policies oriented at building additional waterways, nature development areas and recreational concentrations in the park to manage the demands of recreation and nature conservation offer a good opportunity to apply this model. With a geographical information system (GIS), data obtained from aerial photographs and satellite images can be analyzed. The method of space syntax is used to determine and visualize characteristics of the network of leisure routes in the park and to evaluate impacts resulting from expected changes in the network that accompany the restructuring of waterways.
In this project, the AGM R&D team developed and refined the use of a facial scanning rig. The rig is a physical device comprising multiple cameras and lighting that are mounted on scaffolding around a 'scanning volume'. This is an area at which objects are placed before being photographed from multiple angles. The object is typically a person's head, but it can be anything of this approximate size. Software compares the photographs to create a digital 3D recreation - this process is called photogrammetry. The 3D model is then processed by further pieces of software and eventually becomes a face that can be animated inside in Unreal Engine, which is a popular piece of game development software made by the company Epic. This project was funded by Epic's 'Megagrant' system, and the focus of the work is on streamlining and automating the processing pipeline, and on improving the quality of the resulting output. Additional work has been done on skin shaders (simulating the quality of real skin in a digital form) and the use of AI to re/create lifelike hair styles. The R&D work has produced significant savings in regards to the processing time and the quality of facial scans, has produced a system that has benefitted the educational offering of BUas, and has attracted collaborators from the commercial entertainment/simulation industries. This work complements and extends previous work done on the VIBE project, where the focus was on creating lifelike human avatars for the medical industry.
