<p><strong>Abstract.</strong> 3D photogrammetric reconstruction and spectral imaging have already proven useful and are being used on a daily basis for studying cultural heritage. Dense Image Matching allows to create a virtual replica of the object that can be used for morphometric studies, for monitoring and conservation purposes, virtual access, reduced handling of fragile objects and share objects with a broad audience. 2D spectral imaging is used in the field of cultural heritage conservation to analyse the condition of an object, map a previous restoration, detect a change in composition, reveal sub-drawings, improve details, etc. A 2D image representation of a three-dimensional object is a limited field of view and lead frequently to a lack of information, especially for artifacts with complex geometries. The combination of both techniques is the next step toward a more complete and more objective record of an object, but it can also be a tool to improve the identification of details presents on artifacts. This study focuses on a methodology aiming to combine photogrammetry and spectral imagery acquired from a modified DSLR camera. Two case studies acquired with multispectral reconstruction techniques are analysed. They are used to demonstrate the advantages and disadvantages of the developed methodology. The obtained results show that spectral imaging reconstruction is highly related to used wavelengths. Infrared and ultraviolet fluorescence can enhance features identification of the objects that are not or less visible in classic white light photogrammetry. Combining 3D reconstruction and multispectral imagery can facilitate the readings and the understanding of the object. It can help conservator and researchers to better understand the objects and how to preserve them.</p>

This article examines the historical and sociological processes that led to the electronification of traditional Acholi musical repertoires in the northern region of Uganda. Akena P’Layeng Okella, also known as Leo Palayeng, is presented as a leading figure in this transformation of traditional music to electronic music, which has become known as Acholitronix. Palayeng is also my main interlocutor. Through Palayeng’s biography, the influence of digital technology in the production, distribution, and reception of musical traditions is discussed. The new, digitised repertoire was first integrated into wedding ceremonies, and then played in bars and clubs in the city. It finally reached the international, alternative electronic club scene. This process of transformation in the repertoire is part of a long history of local and international musical influences in Uganda. The extent to which information and communication technologies have played a decisive role in the dissemination of musical genres, the adoption or adaptation of musical instruments and techniques, and the creation of local, national, or even pan-African musical identities since the 1980s, is described in the article. The place that these forms of digital musical traditions have on online platforms is also discussed. Based on these observations, the contours of the transformation and switch from the acoustic to the electronic – while being considered by the actors as being the same music – are described.

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