2c:null 2d:["$","title",null,{"children":"El perro en las acuarelas de Roulin | juanFelipe | Observable"}] 32:T35f4,scenes = ( { "start": { "meta": 192, "text": "Algunas de las acuarelas de Roulin, donadas a la Biblioteca Luis Ángel Arango en 2003, pueden interpretarse en relación con esta publicación. La acuarela Bords de la Magdelaine. Ménage d'une famille de pêcheur de 1823 parece ser una ilustración del texto en el que se menciona que los 'perros de tierra caliente' que viven con los pescadores en las orillas del río Magdalena han visto deteriorada su raza debido a la falta de alimento y a condiciones excepcionales que los obligan a regresar a un estado salvaje. En las láminas de Roulin, como Bords de la Magdelaine, Place de St. Victorin à Bogotá o Entrée du marché de Honda, se pueden ver perros conviviendo con humanos en diferentes climas y regiones. Esto nos permite observar cómo los perros han cambiado y se han adaptado a distintos entornos y situaciones, así como el impacto que las comunidades en las que habitan han tenido sobre ellos. En última instancia, las acuarelas de Roulin, en conjunto con su memoria escrita, ofrecen valiosas perspectivas sobre los cambios en los animales domésticos y su relación con los climas y las comunidades del Nuevo Mundo.", "areas": [ { "x": 473, "y": 205, "w": 348, "h": 249, "btn": "", "tooltip": "", "scene": "perro1" }, { "x": 305, "y": 569, "w": 338, "h": 304, "btn": "", "tooltip": "", "scene": "roulinPlaza" }, { "x": 368, "y": 1006, "w": 343, "h": 276, "btn": "", "tooltip": "", "scene": "roulinMayor" }, { "x": 858, "y": 982, "w": 338, "h": 205, "btn": "", "tooltip": "", "scene": "perro4" }, { "x": 1334, "y": 983, "w": 388, "h": 257, "btn": "", "tooltip": "", "scene": "roulinMayor" }, { "x": 1327, "y": 610, "w": 385, "h": 252, "btn": "", "tooltip": "", "scene": "perro6" }, { "x": 1344, "y": 261, "w": 361, "h": 257, "btn": "", "tooltip": "", "scene": "perro7" }, { "x": 802, "y": 587, "w": 499, "h": 398, "btn": "", "tooltip": "", "scene": "bordes" } ] }, "bordes": { "meta": 146 }, "perro1": { "meta": 156 }, "perro7": { "meta": 148 }, "perro4": { "meta": 149 }, "perro6": { "meta": 159 }, "roulinMayor": { "meta": 153, }, "roulinPlaza": { "meta": 154, }, "types": { "viz": {"filter": [[]], "type": "compare", "x": "138", "y": "143"}, "title": "Comparision between Roulin's Animal Kingdom plate and a watercolour plate", "text": "Roulin's training in physiology and comparative anatomy allowed him to direct his gaze towards aspects other than landscapes, focusing on the study of anatomy, races, and how environmental factors affect organisms. One of Roulin's watercolors can serve as an illustration: 'Bords de la Magdelaine. Le bal du petit ange' (Banks of the Magdalena. The little angel's dance). The image shows the funeral ritual of the inhabitants of the banks of the Magdalena River. There is a crowd circle animating the dance of two Afro-American people in the center. Both subjects had darker skin color and characteristics that could be imputed to the race Cuvier calls 'Ethiopian,' such as curly hair. On the other hand, the subjects in the crowd cheering with palms and instruments have some of the characteristics given by Cuvier to the indeterminate American race, such as straight hair and 'copper red' skin color.", "options": [ { "btn": "Back to main route", "scene": "roulinModel"} ] }, "roulinQuindio": { "viz": {"filter": [[]], "type": "compare", "x": "11", "y": "22"}, "title": "Roulin, d'Orbigny and the category of 'type'.", "text": "The sketch of the camp on the Quindío road was reproduced in the biography of Roulin, along with several other sketches, published by Marguerite Combes in 1929. The drawing shows a camp in which a Carguero can be seen at the center of the composition. According to Combes, the man with an open umbrella being loaded is a notary who accompanied Roulin and Boussigault on the mission to inspect and draw up the plan of the mines of La Vega de Supía. Combes mistakenly states that the subject in the lower right is Boussingault. Roulin makes a direct reference to this drawing in a footnote in an article on the Tapir in his collection of scientific papers called 'Histoire naturelle et souvenirs de voyage' of 1865. Roulin made this drawing on behalf of Humboldt. Roulin’s sketch of the Carguero was modified and turned into an engraving in Alcide d'Orbigny's travelogue, 'Voyage Pittoresque dans les deux Amériques', a popular book that contributed significantly to the dissemination of knowledge of Colombia in Europe. D'Orbigny, a mollusk specialist, belonged to the same scientific circle as Cuvier and Roulin. Like the latter, he was credited as a 'disciple' in the 1836 edition of Le Règne Animal. In fact, his figure plays a fundamental role in research on the determination of the racial characteristics of Americans for Cuvier's classification of that book. In 1825, he was commissioned by the Museum of Natural History in Paris to investigate 'in depth the language and physiological characteristics' of South American people. As an analytical tool, Roulin and d'Ornigny helped transpose, from the comparative anatomy of animals, the category of 'type' to find a way to organize the multiplicity of human populations existing in America. In this sense, Roulin's and d'Orbigny's Carguero drawings can be interpreted as an investigation into a 'social type' that existed because of specific climatic, geographical, and racial features. These are rationalized by the observations of the external characters and their relations with internal organic functioning. Roulin refers to the Carguero as a 'human mount', hinting at a comparison of different modes of transportation and uses of human and animal muscle-driven motion power.", "options": [ { "btn": "Continue route", "scene": "roulinHamilton"} ] }, "roulinHamilton": { "viz": {"filter": [[]], "type": "compare", "x": "11", "y": "14"}, "title": "Hamilton Picturesque Carguero", "text": "A derivation of Roulin's model of the Carguero is found in the travelogue of the British Diplomat Colonel John Potter Hamilton, the first official envoy on behalf of the British government to Colombia. After returning to his homeland, he published his travelogue with the famous publishing house John Murray. This publishing house was noted, among other things, for tapping into the demand for such products, and published more than 200 travel books during the first half of the 19th century. Hamilton used, with adaptations, several of Roulin's models in his book. In particular, the image of the Carguero changes the direction of the characters and places them on a laborious ascent. They climb around a tree on the curve of a steep mountain road (see graphical comparison). The image is similar to other images of the period, like those in the travelogues of British merchant traveller Charles Stuart Cochrane and Swedish diplomatic traveller August Gosselman. These images are characterized by the use of a picturesque aesthetic as a strategy to frame the landscape and recompose it with industrious human figures, settlements, crops, and productive animals, in contrast to the untamed wilderness that still needs to be controlled by man. In these stories, the images coexist with visual metaphors that frame the observations of nature as 'pictures', 'paintings', 'drawings', 'sketches', 'maps', 'scenery', 'beautiful shows', 'dioramas', 'panoramas', 'magic lanterns' or 'Peep Shows'. The use of the Carguero image is indicative of the resignification of picturesque aesthetics in the voyages to America, characterized by the use of ethnographic and social themes of concern to travellers of the period, who were, in Mary Louis Pratt's words, the avant-garde of capitalism.", "options": [ { "btn": "To Costumes/Colombie", "scene": "costumesColombie"} ] }, "costumesColombie": { "meta": 21, "title": "Costumes/Colombie", "text": "Through Hamilton's Carguero, Roulin's model found its way into the volume on Colombia of the monumental 67-volume encyclopedic Collection: L'Univers Pittoresque. The cabinet traveller César Famin arranged on a generic natural background a set of figures that mixed the costumes of Colombia and Guyana. The Collection: L'Univers Pittoresque, in which Famin participated, and d'Orbigny's Voyage pittoresque, are examples of how, in France, the 'picturesque' was understood as a publishing guideline; a way of making books and periodicals, richly illustrated and with complex logistical processes. The books and images of the travellers are used as privileged sources of information for these encyclopedic projects with pretensions of synthesis. An image of the Carguero is representative of this procedure. It does not pretend to be a faithful representation of nature, but rather constructs a generic exoticizing space that synthesizes Famin's entire journey through Guyana and Colombia. Different human types and their costumes are arranged in juxtaposition to establish comparisons and contrasts between them. In this way, the pretension of travel books to bring distant geography closer, so that it can be experienced without leaving home, is realized and replicated with cabinet travels.", "options": [ { "btn": "Back to Roulin's hypothetical album", "scene": "roulinAlbum"}, { "btn": "Continue route", "scene": "roulinPrensa" } ], "areas": [ { "x": 222, "y": 176, "w": 126, "h": 345, "btn": "", "tooltip": "", "scene": "colgadaBlake" }, { "x": 74, "y": 723, "w": 155, "h": 568, "btn": "", "tooltip": "", "scene": "sacerdote" }, { "x": 239, "y": 712, "w": 205, "h": 306, "btn": "", "tooltip": "", "scene": "agachado" }, { "x": 333, "y": 652, "w": 212, "h": 448, "btn": "", "tooltip": "", "scene": "cargandoNino" }, { "x": 583, "y": 386, "w": 362, "h": 603, "btn": "", "tooltip": "", "scene": "carguero" }, { "x": 851, "y": 674, "w": 360, "h": 684, "btn": "", "tooltip": "", "scene": "plantadorSurinam" }, { "x": 1065, "y": 549, "w": 216, "h": 566, "btn": "", "tooltip": "", "scene": "mujerSombrero" }, { "x": 1238, "y": 633, "w": 448, "h": 708, "btn": "", "tooltip": "", "scene": "familia" }, { "x": 1484, "y": 328, "w": 233, "h": 522, "btn": "", "tooltip": "", "scene": "colgado" }, { "x": 1498, "y": 697, "w": 201, "h": 609, "btn": "", "tooltip": "", "scene": "mujerConPajaro"} ] }, "colgadaBlake": { "meta": 186 }, "sacerdote": { "meta": 181, "areas": [ { "x": 112, "y": 383, "w": 150, "h": 440, "btn": "", "tooltip": "", "scene": "roulinMayor" } ] }, "agachado": { "meta": 180, "areas": [ { "x": 109, "y": 294, "w": 195, "h": 376, "btn": "", "tooltip": "", "scene": "roulinPlaza" }, { "x": 245, "y": 382, "w": 136, "h": 229, "btn": "", "tooltip": "", "scene": "roulinPlaza" } ] }, "cargandoNino": { "meta": 178 }, "carguero": { "meta": 14, "areas": [ { "x": 549, "y": 876, "w": 276, "h": 426, "btn": "", "tooltip": "", "scene": "cargueroRoulin" } ] }, "cargueroRoulin": { "meta": 11 }, "plantadorSurinam": { "meta": 187 }, "mujerSombrero": { "meta": 179, "areas": [ { "x": 315, "y": 441, "w": 150, "h": 447, "btn": "", "tooltip": "", "scene": "roulinMayor" } ] }, "roulinPrensa": { "viz": {"filter": [ ["modelo", "=", "roulin"], ["soporte", "=", "prensa"] ], "type": "pack", "x": "modelo", "y": "soporte"}, "title": "The Carguero in the European illustrated press", "text": "By removing the figure from the background, A. de Lattre used the Carguero to contrast the practice of the Quindío road with the estiveros of Putumayo. From this source, the image was put on an engraving plate, and was used in mass-printing projects in Europe by various illustrated press companies in countries such as France (Magasin Pittoresque, 1848), Spain (Semanario Pintoresco Español, 1849) and Germany (Das Pfennig-Magazin, 1851). These magazines were local versions of The Penny Magazine, first published in the United Kingdom in 1832 by the Society for the dissemination of useful knowledge. The model of this weekly magazine soon spread to various parts of Europe, disseminating not only the format of a publication, but technological applications of woodcutting and prototyping, a process of rationalization of print production, a business model and an ideal of the correlation between the expansion of the readership market and the possibility of bringing access to 'useful' knowledge to the working classes. Magasin Pittoresque, for example, was first published by Édouard Charton in 1833 and is associated with a faction of saintsimonism called 'republican saintsimonism'. Charton expressly referred to his publishing projects as means by which he intended to 'combat the ignorance of the popular classes' (Le Magasin Pittoresque, 1833, p. 98). Dissemination was made possible by the recent invention of metal plate engraving processes useful to obtain copies in 'hundreds of thousands' (Le Magasin Pittoresque, 1833, p. 98). In this context, images reached a wider public and offered a quicker and more fun way of learning from which children would benefit: 'instead of letting them sleep or yawn over a book, take them often to museums, or even to boulevards, georamas and panoramas' (Le Magasin Pittoresque, 1833, p. 99). Likewise, in the Semanario Pintoresco Español, images are mentioned for their function of 'representing absent things as if they were before us and which we could only see at the cost of arduous journeys and great expense’ (Semanario Pintoresco Español, 1844, p. 48).", "options": [ { "btn": "Start over", "scene": "start"} ] }, "familia": { "meta": 183 }, "mujerConPajaro": { "meta": 184 }, "colgado": { "meta": 185 } } )33:T888,setScenes = async (data, scenes) => { const msg = d3.select("#panel-container").append("div").text("Loading Atlas..."); // v 0.3.0 // sintaxis = {filter: () => {}, type: pack, scatter, compare, x:, y:} const keys = Object.keys(scenes); const vizFunction = {'pack': vanillaCanvasPack, 'scatter': vanillaCanvasScatter, 'compare': vanillaCanvasCompare} for (let k of keys) { if (scenes[k].viz !== undefined) { const {filter, type, x, y} = scenes[k].viz; let filtered = data; for (let f of filter) { const fn = filterFn(f) filtered = fn(filtered); } const {viz, areas} = await vizFunction[type](filtered, x, y); scenes[k].image = viz; scenes[k].areas = areas; } let newText = ""; if (scenes[k].meta) { newText += getMeta(data[scenes[k].meta]); scenes[k].image = data[scenes[k].meta].url; delete scenes[k].meta; } if (scenes[k].title) { newText += `

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Titulo: ${d.obras}

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\n ${md`# El perro en las acuarelas de Roulin`}\n

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","pinned":false,"hidden":false,"mode":"html","author":"$undefined","summary":"$undefined","output":"panelContainer","database":"$undefined"},{"id":922,"value":"panelFromScenes = async (data, scenes, start) => {\n const newScenes = JSON.parse(JSON.stringify(scenes));\n await setScenes(data, newScenes);\n showPanel(newScenes, start);\n return newScenes\n}","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":896,"value":"$32","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":893,"value":"$33","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":1861,"value":"showPanel = (scenes, start) => {\n let prevScene = start;\n const a = new aventuraModule.Aventura('en', {\n adventureContainer: \"panel-container\",\n typewriterSpeed: 0,\n sceneCallbackStart: (scene) => {\n if (prevScene === scene.key) return\n \n if (scene.options === undefined) {\n scene.options = [{ btn: \"<<<\", scene: prevScene, back: true }];\n } else {\n if (scene.options[0].back) {\n scene.options[0].scene = prevScene;\n } else {\n scene.options.unshift({ btn: \"<<<\", scene: prevScene, back: true });\n }\n }\n\n if (!scene.key.includes(\"ind_\")) {\n prevScene = scene.key;\n }\n \n }\n })\n a.setScenes(scenes).testScenes().startAdventure(start)\n return scenes\n}","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":927,"value":"processedScenes = panelFromScenes(data, scenes, 'start')","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":982,"value":"## General settings","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","output":"","database":"$undefined"},{"id":304,"value":"width = 900","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":34,"value":"height = 900","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":941,"value":"## Viz functions","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","output":"","database":"$undefined"},{"id":807,"value":"$34","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":684,"value":"$35","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":950,"value":"$36","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":943,"value":"## Imports","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","output":"","database":"$undefined"},{"id":285,"value":"aventuraModule = import(await FileAttachment(\"aventura_panel@2.js\").url())","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":1590,"value":"## Style","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","output":"","database":"$undefined"},{"id":1343,"value":"$37","pinned":false,"hidden":false,"mode":"html","author":"$undefined","summary":"$undefined","output":"","database":"$undefined"}],"files":"$W38","stdlib":"1","titling":"auto"}} 31:"$30:body"