| dc.description.abstract | Despite the influence of photography as a tool for archival and documentation of moments, over the years family albums become presentations and not representations, as the originators (chroniclers) of archives transition to the afterlife. The meanings bene ath photographs become disconnected with younger generations, leading to loss of information. Therefore, this qualitative phenomenology study documents (photographs) mnemonic objects, captures stories about them and explores technology that can embed these personal experiences. The study stories towards archival of social history and examined artists performance to explore humanwho use photography, video, sculpture and object relationships and document memory objects. The objects found in the custody of elderly people in Kampala, Wakiso and Mukono districts were categorized by function : art, diversions, adornment, modifications of landscape, applied arts and devices. The participants disclosed detailed descriptive accounts about the object, or about the giver. Some stories had no concrete plot, while others were ‘high narrative feature’ life events, and impressive personal moments. Using Ricoeur’s stories of festivals, major (1984) emplotment and mimesis to analyse the indepth interviews revealed narrative theories of how objects gain agency This allowed the researcher to reinterpret a nd use image compositing . in Adobe Photoshop to produce photographic artworks . Thereafter, audio narratives were embedded Technology provided tools and techniques that allowed the researcher to rein to the images. tell the stories and furthermore, opened up possibilities of archival and unlimited access to digital content. As such, technology in its many forms should be considered to support preservation of cultural heritage for generations to come. | en_US |
