as the Gale’s Cabinet of Knowledge put it, in its 1808 edition.
First mention of this? Needs explanation.
19 Matching Annotations
- Oct 2017
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scalar.usc.edu scalar.usc.edu
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where Galileo Galilei had taught with his telescope, a century and a half earlier.
These "context clues" work really well.
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Both strategies are part of what, following the Encyclopedie of Diderot and D’Alembert, [scalar note] we may call a digital “simulation” of analogue experiences and observations practised in Venice in the eighteenth century: the equivalent of thought-experiments, aided by our vision technology. Indeed, the word “experience” undergoes a meaningful semantic shift, in modern times: if once, as the Encyclopedie states, it indicated “the knowledge acquired through a long life, combined with the reflections made on what one has seen, and on the good and bad that has happened to us,” it now seems to point at something we “experience” almost momentarily. In the eighteenth century, this term was connected to both “experiment” and travel. Again the Encyclopedie: “In Physics the word ‘experiment’ [the word used in French is also ‘expérience’] is used to describe tests that are conducted to discover the different processes and the mechanism of nature.” And travel is “a highly profitable way of gaining experience, but to derive this benefit, one must travel with an observant mind.” Our virtual travels into early modern Venetian virtual reality avail themselves of both images and words and, through their combination, aim to provide both the “experience” and the “observation” that optical devices such as the mondo nuovo and the magic lantern made possible, testing both our reason and our imagination.
These two paragraphs work very well as an introduction to the simulation, esp. in terms of laying out your methodology and making clear what can be uniquely achieved w/ a digital publication. I think we should add a version of this to Ch 1. OR use these paragraphs there and add a shorter version here.
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Mondo Nuovo scene at Valmarana
insert image as reminder
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(G. P. Brunetta 1988, p. 18).
Move this to endnote. And provide some sort of introduction to this quote; seems to be floating here.
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Just as Longhi presents
Massimo, please review this paragraph and make sure I haven’t altered the meaning in any way.
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In two Carnival vignettes by Pietro Longhi
Let’s add more here, unpack your provocative phrase “intent on pulling its strings.” Also, the images are great and we should do more with them.
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but, as we shall see, four years after he painted the first version of the scene
We haven’t yet mentioned this; save for later.
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young daughter of the Provveditore
I added a bit from Scalar; needed more context.
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Longhi
Consider pulling out of this grouping and save for below. This example does not emphasize the m.n.; it’s too far back in the shadows to illuminate the point you are making here in the text. If only Graneri and Zompini are shown here, consider a static pairing, side-by-side images, as opposed to a slideshow.
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on the streets of Venice
Stop sentence here and use remainder for narrative caption: “under the arcades of the broglio, the colonnade that borders the piazzetta.”
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Savoy
Save map for in-depth discussion
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Two Venetian vedutisti,
Consider using Canaletto only, as he is more well known and the setting is unmistakable. Will depend upon space.
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views
can we be more specific: landscapes? views of urban life?
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near Mestre
maybe replace with "just outside of Venice"? This would be better understood by the majority of readers.
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the second-floor gallery of the Ca’ Rezzonico museum in Venice
Show the gallery view again?
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scalar.usc.edu scalar.usc.edu
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the visitors standing in front of the painting in the room of the Ca’ Rezzonico museum
Insert image (1791 within the gallery)?
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In the words of the 1936 guide to the Ca' Rezzonico museum, written by Guido Lorenzetti:
Let’s supplement this passage w/an image of the 1791 ptg. Perhaps enhance w/ NYT vertical scroll w/ pop-up text boxes? Or a voiceover?
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realistic
idealized? romanticized?
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