2c:null 2d:["$","title",null,{"children":"El Atlas del Carguero. Experimentos | juanFelipe | Observable"}] 32:Taee3,scenes = ( { start: { viz: {filter:[], type: "compare", x: 175, y: 176}, title: "Comparison between Humboldt's and Roulin's Carguero images", text: "Consider two models of the Carguero (Man carrier): the first one comes from the famous Prussian naturalist Alexander von Humboldt, who, in his diary, and later in his work Vues des Cordillères (Humboldt, 1810), recorded his encounter with a Carguero named Villanero. His description of the encounter became famous and a point of reference for a large number of travelers when describing their own experiences; the second one is the “source model” of Francois Desieré Roulin, a scientific traveler who made part of an expedition composed of French professionals recommended by Georges Cuvier and Alexander von Humboldt to the plenipotentiary minister of Gran Colombia, Francisco Antonio Zea.", options: [ { btn: "Continue main route", scene: "scatterPeriodoFigura" } ] }, scatterPeriodoFigura: { viz: {filter: [ ["fecha", "<", 1900], ["otros", "=", "false"] ], type: "scatter", x: "periodo", y: "figura/fondo"}, title: "Period vs. Figure/Background", text: "In this panel we can observe that there are more images labeled as 'background' or as 'balance' in the period between 1770 and 1810 than in other periods. Specimens from the late colonial period (1770-1810) participated in a transformation in visual epistemology characterized by presenting different human classifications, understood as castes or nations, in their immediate geographical contexts, including the animal and botanical varieties peculiar to them (Bleichmar, 2012).", options: [ { btn: "<<<", scene: "start" }, { btn: "Continue main route", scene: "pack1750_1810" }, { btn: "Detour through 'Quadro del Perú'", scene: "detour1"} ] }, detour1: { meta: 1, text: "The Quadro’s primary author was José Ignacio de Lequanda (Vizcaya 1748 – Cadiz 1800). The illustrations were made by Louis Thiebaut, based on many sources, including the so-called Trujillo del Perú Codex (1782–85) and the Malaspina Expedition (1789-1794). Lequanda resided for most of his productive life in Lima, where he contributed to the Mercurio Peruano (1791–94). The Quadro is an oil painting on canvas with unusual dimensions (331 cm × 118 cm) and composition: 195 scenes with 381 figures surrounded by explanatory text. In addition, the framed canvas is crowned and gilded with twin cornucopias graced by a sheaf of arrows, symbolising the bounty or ‘treasure’ of the New World under Hispanic Monarchy. The two central geographical images (an east-up map of central Peru, and below it a profile view of the rich mines at Hualgayoc) form an axis that represents the new economic centre of 18th-century Peru, which had shifted from Potosí to the region adjacent to Lima. The central region united three major ecological and productive zones. In the Quadro, this vertical economic geography is represented by the unfolding of a concentric sequence of niches populated by fishes and amphibians, small and large quadrupeds, simians, and humans. The latter is divided in two classes, ‘civilised’ (or coastal and highland) and ‘savage’ (or Amazonian), with each composed of 16 ‘nations’. Birds occupy the perimeter of the Quadro, seemingly lifting the entire canvas on their wings. In a word, the Quadro is a tableau that reveals in a synoptic visual field what today we call ‘biodiversity’ but which in enlightened circles of the times was called ‘the idea of Peru.’ This ‘idea’ held that Peru was a mirror of the universe and the crown jewel of Hispanic Empire (Cañizares-Esguerra & Thurner, 2022)." + "(See LAGLOBAL)", areas: [ { "x": 424, "y": 348, "w": 621, "h": 338, "btn": "", "tooltip": "", "scene": "nacionesCivilizadas" }, { "x": 1293, "y": 329, "w": 395, "h": 417, "btn": "", "tooltip": "", "scene": "detalleNacionSalvaje" } ], options: [ { btn: "Back to main route", scene: "scatterPeriodoFigura"} ] }, nacionesCivilizadas: { meta: 2, options: [ { btn: "<<<", scene: "detour1" }, { btn: "Back to main route", scene: "scatterPeriodoFigura"} ] }, detalleNacionSalvaje: { meta: 107, title: "Detail of the 'Quadro del Perú': wild nations", text: "These two characters were protagonists of a network of copies and uses of models that show the practices of image circulation in the late eighteenth century in the Hispanic imperial space. Bleichmar refers to the visible empire (2012) to highlight the importance of different modes of visualization to govern from a distance, coordinate between administrative units, and circulate knowledge.", options: [ { btn: "<<<", scene: "detour1" }, { btn: "Back to main route", scene: "scatterPeriodoFigura"} ], areas: [ { "x": 637, "y": 392, "w": 1274, "h": 783, "btn": "", "tooltip": "", "scene": "relacion" } ] }, relacion: { meta: 106, title: "Detail of Viceroy Gil de Taboada's Government report", text: "These images were used in a government report that Viceroy Gil de Taboada addressed his successor, Marques Osorno. This relation, concluded in 1796, was elaborated by two of the advisers of this ruler, Hipólito Unanue and the accountant José Ignacio de Lecuanda.", options: [ { btn: "<<<", scene: "detalleNacionSalvaje" }, { btn: "Back to main route", scene: "scatterPeriodoFigura"} ], areas: [ { "x": 220, "y": 215, "w": 441, "h": 430, "btn": "", "tooltip": "", "scene": "indiosMalaspina" } ]// Esta área está extraña }, indiosMalaspina: { meta: 103, title: "Bauza collection form Malaspina Expedition", text: "The characters originally belonged to a series of plates made in the context of the Malaspina expedition that were catalogued as 'Bauza collection' and that are located in the Museum of America in Madrid. The images refer to Peru. The botanists Luis Née, Tadeo Haenke and the commissioners of the viceroy Gil de Taboada y Lemus, Juan Tafalla and Francisco del Pulgar participated in this enterprise. One of the greatest areas of exploration was coming into direct contact with native populations of the Amazon. Some of these images put together two types of Indians from a given region and are accompanied by explanatory text.", options: [ { btn: "<<<", scene: "relacion" }, { btn: "Back to main route", scene: "scatterPeriodoFigura"} ], areas: [ { "x": 547, "y": 273, "w": 374, "h": 540, "btn": "", "tooltip": "", "scene": "indioIquito" } ] }, indioIquito: { meta: 104, title: "Bauza collection form Malaspina Expedition", text: "The attribution of these images is under discussion. They are generally assigned to an anonymous painter and sometimes to Tadeo Haenke. Although all the images are in the same collection, and it has traditionally been assumed that they were made in the context of the Malaspina Expedition, there are also those that have established a difference of authorship between the images that present the Indians in pairs and those that present them individually. Thus, the order of elaboration of the original model is inverted: on the one hand, based on a formal study of the style, the ink and the paper used, Fernando Villegas has affirmed that the first series of images were not elaborated by the expeditionaries of the Malaspina Expedition but were made during the exploration of Governor Francisco Requena and the priest Gribal. For his part, Peralta Ruiz affirms that the resemblance between the two series of images proves that the expeditionaries in charge of Malaspina (Nee and Haneke) came across Gribal and Requena and allowed them to copy their drawings.", options: [ { btn: "<<<", scene: "indiosMalaspina" }, { btn: "Back to main route", scene: "scatterPeriodoFigura"} ] }, pack1750_1810: { viz: {filter: [ ["periodo", "=", "1750 - 1810"], ["otros", "=", false] ], type: "pack", x: "figura/fondo", y:"figura/fondo"}, title: "Circle Pack Tree 'Figure/background' filtered by '1750 - 1810' period", text: "Variations in the idea of placing human specimens in their geographical and natural contexts can be seen in Vicente Albán's mestizaje paintings, and in Cuadro del Peru commissioned by Ignacio Lecuanda (Bleichmar, 2011). This transformation is, paradigmatically, present in Humboldt's views of nature. Plate V of Vues des Cordillères (Humboldt, 1810) is Humboldt’s representations of the Carguero, and participates in this visual episteme; its production and meaning are affected by the American social networks in which Humboldt's journey, journal entries, and sketches were produced (Cañizares-Esguerra & Thurner, 2022) and by the European social networks that supported the conversion of sketches and notes into images and texts, and put into a global comparative horizon (Bourguet, 2017). There is a balance between the natural elements and activities of the Carguero (Men Carrieers), as they are elements that make up the composition and provides relevant information to understand aspects related to the use of plants, means of transport, and other particularities of Andean verticality. This explains why during this period the attribute 'balance' is preponderant", options: [ { btn: "<<<", scene: "scatterPeriodoFigura" }, { btn: "Continue main route", scene: "scatterRoulin" }, { btn: "Detour through 'Plate V of Vues des Cordillères'", scene: "detour2" }, ] }, detour2: { meta: 6, text: "Plate V of Vues about the passage of Quindío has been used on numerous occasions as an example of Humboldt's conceptions of the relationship between art and science in relation to the possibility of sensitively presenting vertical American nature. Oliver Lubrich refers to plate V of Vues as a multiple perspective drawing designed from the positions of different disciplines, and open to diverse readings. The image can offer aesthetic enjoyment and relevant information to botanists, geologists, mineralogists, and meteorologists. This is because there are plants, landscapes, cloud formations, geological profiles, villages, an inter-Andean valley, an eastern mountain range, multiple signs that show the climate, vegetation, location, and social and productive activities that are carried out with plants and natural resources in general. In addition, it tells a sociological and 'politically explosive' story related to Cargueros who make up the line of travelers and who stage a series of oppositions and complexities typical of the mountainous Andean world, colonial society, and global society in the process of transformation. There, we see a Carguero who stares at the viewer while walking with his empty chair, probably the one that should have been occupied by Humboldt, who refused to use the service. In this sense, it could be said that the image is a 'picture or scene of nature' which presents a careful organization of the landscape so that various natural and cultural phenomena interact and account for organic functioning.", options: [ { btn: "Back to main route", scene: "pack1750_1810"}, { btn: "To Circle Pack Tree with Humboldt Source Model atribute", scene: "humboldtPack"} ], areas: [ { "x": 907, "y": 660, "w": 316, "h": 474, "btn": "", "tooltip": "", "scene": "villanero" }, { "x": 1225, "y": 619, "w": 273, "h": 547, "btn": "", "tooltip": "", "scene": "agave" }, { "x": 615, "y": 342, "w": 727, "h": 453, "btn": "", "tooltip": "", "scene": "humboldtPack" } ] }, villanero: { meta: 122, options: [ { btn: "<<<", scene: "detour2" }, { btn: "Back to main route", scene: "pack1750_1810"} ], areas: [ { "x": 157, "y": 242, "w": 120, "h": 154, "btn": "", "tooltip": "", "scene": "bijao" } ] }, bijao: { meta: 119, text: "The Cargueros in effect act as guides and make it possible to cross the difficult path, not only because of their physical strength, but also because of the knowledge they have of the landscape they inhabit. They know the signs of the terrain, climate, and usefulness of plants. The same Carguero who in the image stares at the viewer and who has an empty chair carries in his hands some bijao leaves that the story tells us, will later be used to make tents and shelter from the rain. He draws the bijao leaves in his diary.", options: [ { btn: "<<<", scene: "villanero" }, { btn: "Back to main route", scene: "pack1750_1810"} ] }, agave: { meta: 120, text: "There is a flowering Fique or Agave on the right side, in the foreground of the Plate V of Vues. This plant allows the elaboration of ropes that tie the Bijao leaves and secure the tents. In the diaries, there are drawings of the tents specifying how to tie them so that they are resistant. In the story, these plants are considered from the point of view of their geographical location in relation to altitude, from the taxonomic point of view by being categorized into families and species, and from the point of view of their usefulness by showing their industrial uses.", options: [ { btn: "<<<", scene: "bijao" }, { btn: "Back to main route", scene: "pack1750_1810"} ] }, humboldtPack: { viz:{ filter: [ ["modelo", "=", "humboldt"], ["otros", "=", false] ], type: "pack", x: "modelo", y: "modelo"}, title: "Circle Pack Tree with Humboldt 'Source Model' atribute", text: "", options: [ { btn: "<<<", scene: "detour2" }, { btn: "Back to main route", scene: "pack1750_1810"} ] }, scatterRoulin: { viz: {filter: [ ["fecha", "<", 1900], ["otros", "=", false] ], type: "scatter", x: "periodo", y: "modelo"}, title: "Scatter Plot with 'period' and 'source model'", text: "As seen in the Scatter Plot representing 'period' and 'backgound/figure', from the period 1819-1850 onwards we can notice a preponderance of the 'figure' over the 'background' and the 'balance'. Additionally, it is worth noting that the most used model during the period '1819 – 1850' was Roulin’s. This can be seen in a cluster formed in 'Roulin' when we use the scatter plot to contrast “period” on the X axis with the “source model” on the Y axis.", options: [ { btn: "<<<", scene: "pack1750_1810" }, { btn: "Continue main route", scene: "packRoulin" }, ] }, packRoulin: { viz: {filter: [ ["fecha", "<", 1900], ["periodo", "=", "1819 - 1850"], ["otros", "=", false] ], type: "pack", x: "periodo", y: "modelo"}, title: "Circle Pack Tree '1819 - 1850 period' and 'source model'.", text: "It can also be seen in the Circle Pack Tree Map when filtering by the period '1819-1850', and displaying the variables 'source model' and 'background and figure'.", options: [ { btn: "<<<", scene: "scatterRoulin" }, { btn: "Continue main route", scene: "packHumboldtPeriodo" }, ] }, packHumboldtPeriodo: { viz: {filter: [ ["fecha", "<", 1900], ["otros", "=", false], ["modelo", "=", "humboldt"] ], type: "pack", x: "periodo", y: "figura/fondo"}, title: "Scatter Plot with 'period' and 'source model'", text: "When viewing the Circle Pack Tree Map with the 'source model' attribute filtered by 'humboldt,'' and contrasting the 'period' attribute with the 'figure/background' attribute, it can be seen that, in the '1819-1850' period, the images which used Humboldt’s image as a model turned the 'landscape' into 'figures,' and others took the 'figures' out and turned the images into 'background.'", options: [ { btn: "<<<", scene: "packRoulin" }, { btn: "Continue main route", scene: "roulinHumboldt" } ] }, roulinHumboldt: { viz: { filter:[], type: "compare", x: 6, y: 11 }, title: "Second Comparison between Humboldt's and Roulin's Carguero images", text: "It is striking that this is the most used model, since all travelers quote Humboldt as a reference for the description of Carguero, but they do not use his image as a model. It can be seen in a compare graph of two adjacent images that there are differences in style. It is especially important to note that Humboldt's image highlights the Carguero as part of the landscape, whereas Roulin’s highlights its physical characteristics.", options: [ { btn: "<<<", scene: "packHumboldtPeriodo" }, { btn: "Continue main route", scene: "roulinModel" } ] }, roulinModel: { viz: { filter: [ ["fecha", "<", 1900], ["modelo", "=", "roulin"], ["otros", "=", false] ], type: "pack", x: "modelo", y: "soporte"}, title: "Circle Pack Tree filterd by Roulin's 'source model'", text: "In the same sense, when we look at the Circle Pack Tree Map where the “source model” category is filtered by 'roulin,' we can see the great diversity of contexts in which this model transformed its meaning in order, adapted by communities of interpretation that demanded new epistemic and aesthetic criteria of validity. Then, the following questions arises: why the travelers who were in “Colombia/Nueva Granada” in the period “1819-1851” did not use Humboldt’s Carguero model? What aesthetic, technical, and epistemic conditions made it possible for Roulin's model to circulate to be re-signified in the different interpretation communities in which it was adapted? By reviewing the primary sources and secondary literature, we conclude that two factors must be considered to answer these questions. The first reason is technological, related to the techniques of inscription and practices of image circulation. The second is epistemological and rhetorical, related to the audiences that the inscriptions intended to affect. Bruno Latour understands these two aspects as part of the same process: the interest in inscriptions is understandable insofar as it is related to the trajectories, routes, and expansive plans that their technology and structure make possible. Correlatively, displacement allows for innovations in inscriptions, writing, archiving, and processing, which only make sense to the extent that they persuade and gain adherence in the midst of controversies (Latour, 2012).", options: [ { btn: "<<<", scene: "roulinHumboldt" }, { btn: "Techniques of inscription and practices of image circulation", scene: "circulationInscription" }, { btn: "Audiences that the inscriptions intended to affect", scene: "audiences" }, { btn: "Continue main route", scene: "roulinQuindio"} ] }, circulationInscription: { viz: { filter:[], type: "compare", x: "166", y: "167" }, title: "Techniques of inscription and practices of image circulation", text:"The drawings and images made by Roulin participated in a network of image circulation related to 19th century visual culture, such as the rationalization of production, division of labor, and mass production for a market of travelers who were interested in these products. In the contemporary period, collections of images of travellers who were in South America at the beginning of the 19th century have become known thanks to donations from private collectors. This is the case for the Alphonse Giast collection in Argentina and Chile (Carril, 1964; Pereira Salas, 1962), Joseph Brown collection, Le Moyne collection, and Roulin collection in Colombia (Alvarez Rincón, 2003; Deas et al., 1989; Le Moyne et al., 2003). Throughout the twentieth century, and even today, these images have been predominantly seen as visual testimonies of the early republic and, as such, have been integrated into narratives of nation building. Recently, researchers have compared the collections, including the corpus of images attributed to Roulin, and have found a series of iconographic coincidences that indicate the existence of practices of adapting models to different contexts by means of details, such as the background, tools, clothing, costumes, and other elements that vary between compositions (De la Maza et al., 2016). These practices have been analyzed by researchers through notions such as 'multiple authorship' and 'multiple originals', which allows them to be placed on the horizon of other image-making practices that took place throughout South America in the postcolonial Hispanic space. An eloquent case is the contrast between the plate 'Taking chocolate in Bogotá', from Brown's collection, and the plate 'Caballero tomando Té', from the 'De Santiago a Mendoza' collection attributed to Giast. The characters are in similar positions, but their clothing, hairstyles, skin complexion, watercolor background, and distribution of surrounding elements change from one image to another. One of the most interesting elements of the contrast is the identification of a 'Mate bombilla' on the table in the background of the watercolor attributed to Giast, a practice characteristic of Chile and Argentina that, on the contrary, was not carried out in Nueva Granada.", options: [ { btn: "<<<", scene: "roulinModel" }, { btn: "Roulin's hypothetical album", scene: "roulinAlbum"} ] }, roulinAlbum: { meta: 165, title: "Roulin's hypothetical album", text: "For its part, the From Santiago to Mendoza collection coincides with some of the Roulin watercolors donated in 2003. One example, among other possible ones, can be seen in the plate Mujer con balde from the Chilean collection, which shows in the foreground a character in the background of Roulin's watercolor 'Place de St. Victorin, à Bogota'. In addition, the composition of the space is different, and it is shown to inhabit it from another perspective with coinciding elements. There is also another character in the Roulin watercolor we are discussing that coincides with another sheet in the collection attributed to Giast called 'Mujer con balde (Woman with a Bucket).’
In this way, Roulin's prominence in the visual culture of the early Republican period has been highlighted by other scholarship (Antei, 1995). For example, Auguste Le Moyne copied the profile of Simón Bolívar drawn by Roulin in 1828 (Vanegas, 2012). Likewise, his watercolors were copied and published in the travelogues of Gaspar Mollien (1824), John Potter Hamilton (1827), Guilaume Lallement (1826), Alcide D'Orbigny (1841) and M. A. de Latrre (1848). Modifications of his motifs can also be found in engravings by John Potter Hamilton (1827, 1993), Gaetano Osculati (1954), and Cesar Famin (1837). Thus, it has been speculated that Roulin may have had a catalogue of plates at the service of travelers with scenes of customs, types, views, and monuments (Antei, 1995; De la Maza et al., 2016).", options: [ { btn: "<<<", scene: "circulationInscription" }, { btn: "Back to main route", scene: "roulinModel"}, ], areas: [ { "x": 199, "y": 350, "w": 156, "h": 283, "btn": "", "tooltip": "", "name": "mujer", "scene": "roulinPlaza" }, { "x": 303, "y": 339, "w": 154, "h": 137, "btn": "", "tooltip": "", "name": "area", "scene": "roulinPlaza" } ] }, roulinPlaza: { meta: 154, options: [ { btn: "<<<", scene: "circulationInscription"}, { btn: "Back to Roulin's hypothetical album", scene: "roulinAlbum"}, { btn: "Back to Costumes/Colombie", scene: "costumesColombie"} ], areas: [ { "x": 400, "y": 762, "w": 152, "h": 276, "btn": "", "tooltip": "", "name": "cargando", "escena": "agachado" }, { "x": 586, "y": 708, "w": 140, "h": 152, "btn": "", "tooltip": "", "name": "agachado", "escena": "agachado" }, { "x": 748, "y": 653, "w": 104, "h": 178, "btn": "", "tooltip": "", "name": "mujerConBalde", "escena": "roulinAlbum" }, { "x": 382, "y": 439, "w": 400, "h": 350, "btn": "", "tooltip": "", "name": "fuente", "escena": "roulinAlbum" }, { "x": 1075, "y": 838, "w": 258, "h": 204, "btn": "", "tooltip": "", "escena": "perro" } ] }, audiences: { viz: {filter: [ ["modelo", "=", "roulin"], ["genero", "=", "tipos animales"] ], type: "pack", x: "modelo", y: "genero"}, title: "Roulin's Animal types", text: "In relation to the aesthetic and scientific conditions of acceptability, Roulin's conceptual and visual universe is directly related to his scientific training as a physiologist practicing comparative anatomy in the scientific circle of the Academy of Natural Sciences in Paris (Del Castillo, 2018; Rodriguez-Prada, 2013). Likewise, he published some of the results of his research in the Annals of Natural Sciences (Audouin et al., 1829a, 1829b) and participated in the posthumous edition of the Animal Kingdom created by Cuvier's disciples in 1836 (Cuvier et al., 1836). Roulin's watercolors and drawings show his interest in highlighting aspects related to the animal and human classification that had been postulated in this scientific circle, which, from a visual point of view, sought to establish relationships between external characters, with the systematic functioning of internal organs (Foucault, 1997, p. 247; Senior, 2018) The Circle Pack Tree in this scene is filtered by the animal types that can be found in a publication on the Tapir in the Annals of Natural Science and some drawings found in his notebooks to which his biographer had access (Combes, 1929).

The tapir was drawn from the carcasses of a pair of specimens found in Sumapaz páramo, near Bogotá. He had to content himself with making an abbreviated description on the spot, and drawing a simple line in pencil' (je dus me contenter d'en faire sur la place une description abrégée , et d'en prendre au crayon un simple trait). To reproduce (reproduire) the profile of the head more accurately, a Wollaston camera-lucida helped him faithfully determine its outline. In this way, Roulin completed a series of drawings that were placed before the eyes of the academy (sous les yeux de l'Académie) when attached to his memoir published in the Annales des Sciences Naturelles (Roulin in Audouin et al., 1829a).", options: [ { btn: "Back to main route", scene: "roulinModel"}, { btn: "Roulin's Human types", scene: "roulinHuman"}, { btn: "Detour through Roulin's dogs", scene: "perro" } ], }, perro: { meta: 192, text: "Roulin also published a memoir in the Annals of Natural Sciences in 1829 about domestic animals brought from Europe to the New World. Some of the watercolors found in 2003 can be interpreted in relation to this publication. The watercolor 'Bords de la Magdelaine. Ménage d'une famille de pêcheur' of 1823 seems to be an illustration of the text in which it is mentioned that the 'dogs of hot climate (perros de tierra caliente)' that live with the fishermen on the banks of the Magdalena River, have a deteriorated breed due to lack of food and exceptional conditions that force the animals to return to wild states. In Roulin's Plates, such as 'Bords de la Magdelaine', 'Place de St. Victorin à Bogotá' or 'Entrée du marché de Honda', dogs can be seen living side by side with humans in different climates and regions. This allows us to see how dogs have changed and adapted to different environments and situations, and how they have been affected by the communities in which they live. Ultimately, Roulin's watercolors, in conjunction with his written memoir, offer valuable insights into changes in domestic animals and their relationship to climates and communities in the New World.", options: [ { btn: "<<<", scene: "roulinMayor" }, { btn: "Back to Roulin's hipotetic album", scene: "roulinAlbum"}, { btn: "Back to Costumes/Colombie", scene: "costumesColombie"} ], 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, options: [ { btn: "<<<", scene: "perro" } ] }, perro1: { meta: 156, options: [ { btn: "<<<", scene: "perro" } ] }, perro7: { meta: 148, options: [ { btn: "<<<", scene: "perro" } ] }, perro4: { meta: 149, options: [ { btn: "<<<", scene: "perro" } ] }, perro6: { meta: 159, options: [ { btn: "<<<", scene: "perro" } ] }, roulinMayor: { meta: 153, options: [ { btn: "<<<", scene: "circulationInscription" }, { btn: "Back to Roulin's hypothetical album", scene: "roulinAlbum"}, { btn: "Back to Costumes/Colombie", scene: "costumesColombie"} ], areas: [ { x: 477, y: 575, w: 121, h: 325, btn: "", tooltip: "", scene: "mujerSombrero" }, { x: 894, y: 695, w: 215, h: 465, btn: "", tooltip: "", scene: "sacerdote" }, { x: 133, y: 850, w: 169, h: 139, btn: "", tooltip: "", scene: "perro" }, { x: 1123, y: 639, w: 157, h: 117, btn: "", tooltip: "", scene: "perro" } ] }, roulinHuman: { viz: {filter:[ ["modelo", "=", "cuvier"] ], type: "pack", x: "modelo", y: "modelo" }, title: "Roulin's Human types", text: "In the specific classification of the human race as a bipedal mammal, Cuvier considered that its development was determined by external aspects, such as climate or geography, and internal aspects, such as the intellectual characteristics of the races (Cuvier et al., 1836, pp. 97-98). These were organized in a hierarchy that descended from the Caucasian race to the Ethiopian, which was represented as the least developed. The position of Americans in this classification was uncertain, since it was not possible to resolve the multiplicity of characteristics observed in the same category (Cuvier et al., 1836, pp. 103-104). In fact, Roulin drew from Cuvier’s disciples edition of Animal Kingdom some of the plates of American types that illustrate their difficult classification, and is cited as one of the travellers who provided information on the subject (Cuvier et al., 1836b, pl XIV).", options: [ { btn: "Comparision between Roulin's Animal Kingdom plate and a watercolour plate", scene: "types" }, { btn: "<<<", scene: "audiences" }, { btn: "Back to main route", scene: "roulinModel"}, ] }, 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. In this sense, one of Roulin's watercolors can serve as an illustration. It is called Bords de la Magdelaine. Le bal du petit ange (Banks of the Magdalena. The little angel's dance). In this image, one can observe the funeral ritual of the inhabitants of the banks of the Magdalena River. There is a circle of people animating the dance of two Afro-Americans 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 circle 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: "<<<", scene: "roulinHuman"}, { 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 Quindio road was reproduced in the biography of Francois Desire Roulin, published by Marguerite Combes in 1929. The biographer reproduced several of Roulin's sketches. The drawing shows a camp on the Quindío Road, 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 that can be seen 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 (Man Carrier) was modified and turned into an engraving in Alcide d'Orbigny's travelogue, Voyage Pittoresque dans les deux Amériques (Orbigny, 1841), 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 Animal Kingdom. In fact, his figure plays a fundamental role in research on the determination of the racial characteristics of Americans for Cuvier's classification of the Animal Kingdom. 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 (Orbigny, 1839). IX). 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 (Man Carrier) 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'(Roulin, 1865, p. 263), allowing comparison of different modes of transportation and uses of human and animal muscle-driven motion power.", options: [ { btn: "<<<", scene: "roulinModel"}, { btn: "Continue route", scene: "roulinHamilton"}, ] }, roulinHamilton: { viz: {filter: [[]], type: "compare", x: "11", y: "14"}, title: "Hamilton Picturesque Carguero", text: "The following derivation of Roulin's model of the Carguero is found in the travelogue of the British Diplomat Colonel John Potter Hamilton (Hamilton, 1827), 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 (Keighren & Withers, 2011, p. 1334). 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, such as those in the travelogues of British merchant traveller Charles Stuart Cochrane (Cochrane, 1825) and Swedish diplomatic traveller August Gosselman (Gosselman, 1828, 1981). These images are characterized by the use of a picturesque aesthetic that functions as a device to frame the landscape and organize 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 (Diener, 2007), who were described by Mary Louis Pratt as the avant-garde of capitalism (Pratt, 1992).", options: [ { btn: "<<<", scene: "roulinModel"}, { btn: ">>>", 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 Universal Picturesque Collection, which allowed the cabinet traveller César Famin to arrange on a generic natural background a set of figures to imagine the costumes of Colombia and Guyana. The 'Universal picturesque collection' (Collection: L'Univers Pittoresque) in which Famin participated, and d'Orbigny's 'picturesque journey' (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 (Jeanjean-Becker, 2018). The books and images of the travellers present are used as privileged sources for these encyclopedic projects with pretensions of synthesis to take place. An image of the Carguero (Man Carrier) is representative of this procedure. It does not pretend to be a faithful representation of nature, but rather constructs a generic wild space that synthesizes his entire journey through Guyana and Colombia, on which different human types and their costumes are arranged to juxtapose them and establish comparisons and contrasts. In this way, the pretension of travel books to bring distant geography closer so that it can be experienced without leaving home is realized with cabinet travels and, at the same time, replicated.", options: [ { btn: "<<<", escena: "roulinHamilton" }, { btn: "Back to Roulin's hipotetic album", scene: "roulinAlbum"}, { btn: "Continue route", escena: "roulinPrensa" }, ], areas: [ { "x": 222, "y": 176, "w": 126, "h": 345, "btn": "", "tooltip": "", "name": "colgada", "escena": "colgadaBlake" }, { "x": 74, "y": 723, "w": 155, "h": 568, "btn": "", "tooltip": "", "name": "sacerdote", "escena": "sacerdote" }, { "x": 239, "y": 712, "w": 205, "h": 306, "btn": "", "tooltip": "", "name": "agachado", "escena": "agachado" }, { "x": 333, "y": 652, "w": 212, "h": 448, "btn": "", "tooltip": "", "escena": "cargandoNino" }, { "x": 583, "y": 386, "w": 362, "h": 603, "btn": "", "tooltip": "", "name": "carguero", "escena": "carguero" }, { "x": 851, "y": 674, "w": 360, "h": 684, "btn": "", "tooltip": "", "escena": "plantadorSurinam" }, { "x": 1065, "y": 549, "w": 216, "h": 566, "btn": "", "tooltip": "", "escena": "mujerSombrero" }, { "x": 1238, "y": 633, "w": 448, "h": 708, "btn": "", "tooltip": "", "escena": "familia" }, { "x": 1484, "y": 328, "w": 233, "h": 522, "btn": "", "tooltip": "", "escena": "colgado" }, { "x": 1498, "y": 697, "w": 201, "h": 609, "btn": "", "tooltip": "", "escena": "mujerConPajaro"} ] }, colgadaBlake: { meta: 186, options: [ { btn: "<<<", scene: "costumesColombie" } ] }, sacerdote: { meta: 181, options: [ { btn: "<<<", scene: "costumesColombie" } ], areas: [ { "x": 112, "y": 383, "w": 150, "h": 440, "btn": "", "tooltip": "", "escena": "roulinMayor" } ] }, agachado: { meta: 180, options: [ { btn: "<<<", escena: "costumesColombie" } ], areas: [ { "x": 109, "y": 294, "w": 195, "h": 376, "btn": "", "tooltip": "", "name": "parado", "escena": "roulinPlaza" }, { "x": 245, "y": 382, "w": 136, "h": 229, "btn": "", "tooltip": "", "name": "agachado1", "escena": "roulinPlaza" } ], }, cargandoNino: { meta: 178, options: [ { btn: "<<<", scene: "costumesColombie" } ] }, carguero: { meta: 14, options: [ { btn: "<<<", escena: "costumesColombie" } ], areas: [ { "x": 549, "y": 876, "w": 276, "h": 426, "btn": "", "tooltip": "", "escena": "cargueroRoulin" } ] }, cargueroRoulin: { meta: 11, options: [ { btn: "<<<", scene: "costumesColombie" } ] }, plantadorSurinam: { meta: 187, options: [ { btn: "<<<", scene: "costumesColombie" } ] }, mujerSombrero: { meta: 179, options: [ { btn: "<<<", escena: "costumesColombie" } ], areas: [ { "x": 315, "y": 441, "w": 150, "h": 447, "btn": "", "tooltip": "", "escena": "roulinMayor" } ] }, roulinPrensa: { viz: {filter: [ ["modelo", "=", "roulin"], ["soporte", "=", "prensa"] ], type: "pack", x: "modelo", y: "soporte"}, title: "The Carguero in the European illustrated press", text: "Finally, by focusing on his figure to the detriment of the background, the Carguero drawing allowed A de Lattre to contrast the practice of the Quindío road with the estiveros of Putumayo. This made it possible for the image to be used in mass-production projects in Europe and for it to be circulated, held on an engraving plate, 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' (Aurenche, 2021). 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 which made it possible to obtain copies in 'hundreds of thousands' (Le Magasin Pittoresque, 1833, p. 98). In this context, images make it possible to reach a wider public, to leave a lasting impression, and a quicker and more fun way of learning from which children 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: "<<<", scene: "costumesColombie"}, { btn: "Start over", scene: "start"} ] }, familia: { meta: 183, options: [ { btn: "<<<", scene: "costumesColombie" } ] }, mujerConPajaro: { meta: 184, options: [ { btn: "<<<", scene: "costumesColombie" } ] }, colgado: { meta: 185, options: [ { btn: "<<<", scene: "costumesColombie" } ] }, } )33:T7fc,setScenes = async (data, scenes) => { // 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 += `

${scenes[k].title}

`; delete scenes[k].title; } scenes[k].text = newText + (scenes[k].text || ""); if (scenes[k].info) { scenes[k].text +=`${scenes[k].info[0]}` } } function getMeta(d) { return `

Title: ${d.obras}

Date: ${d.fecha}

Author: ${d.autor}

Source: ${d.fuente}

Repository

` } function filterFn(f) { if (f[1] === "=" || f[1] === "==" || f[1] === "===") { const condition = /true|True/i.test(""+f[2]) ? true : /false|False/i.test(""+f[2]) ? false : f[2]; return data => data.filter(d => d[f[0]] == condition) } else if (f[1] === "<") { return data => data.filter(d => d[f[0]] < f[2]) } else if (f[1] === ">") { return data => data.filter(d => d[f[0]] > f[2]) } else { return data => data } } for (let d of data) { scenes[`ind_${d.n}`] = { image: d.url, text: getMeta(d), options: [{btn: "<<<", scene: `ind_${d.n}`}] } } return scenes }34:T971,vanillaCanvasScatter = async (data, vx, vy) => { const size = 50; const margin = {l: 0.2 * width, r: 0.1 * width, t: 0.1 * height, b: 0.1 * height}; const wm = width - margin.l - margin.r; const hm = height - margin.t - margin.b; const filtered = data; const domainX = [...new Set(filtered.map(d => d[vx]))]; const domainY = [...new Set(filtered.map(d => d[vy]))]; const scaleX = d3.scalePoint().domain(domainX).range([0, wm]).padding(0.5).round(true); const scaleY = d3.scalePoint().domain(domainY).range([0, hm]).padding(0.5).round(true); const imgs = []; for (let d of filtered) { const img = new Image(); img.setAttribute('crossorigin', 'anonymous'); img.src = d.url; await new Promise(r => { img.onload = () => { r(true) }}); imgs.push({ url: d.url, x: scaleX(d[vx]), y: scaleY(d[vy]), img: img, r: size, n: d.n }); } const simulation = d3.forceSimulation(imgs) .force("charge", d3.forceManyBody().strength(5)) .force("collide", d3.forceCollide(10)) .tick(200) const canvas = document.createElement("canvas"); const ctx = canvas.getContext("2d"); canvas.width = width; canvas.height = height; ctx.fillStyle = "#313131"; ctx.fillRect(0, 0, width, height); ctx.strokeStyle = "white"; ctx.font = "14px serif"; ctx.textBaseline = "middle"; ctx.textAlign = "center"; for (let d of domainX) { ctx.fillStyle = "white"; ctx.fillText(d, margin.l + scaleX(d), margin.t + hm + (margin.b / 2)); } ctx.beginPath(); ctx.moveTo(margin.l, margin.t + hm); ctx.lineTo(margin.l + wm, margin.t + hm); ctx.stroke(); ctx.textAlign = "right"; for (let d of domainY) { ctx.fillStyle = "white"; ctx.fillText(d, margin.l - 5, margin.t + scaleY(d)); } ctx.beginPath(); ctx.moveTo(margin.l, margin.t); ctx.lineTo(margin.l, margin.t + hm); ctx.stroke(); ctx.strokeStyle = "black"; const areas = []; for (let i of imgs) { const w = size; const h = w * i.img.height / i.img.width; const j = Math.random() * 100; const x = i.x + margin.l + j; const y = i.y + margin.t // + Math.random() * 10; ctx.save(); ctx.translate(-w/2, -h/2); ctx.drawImage(i.img, x, y, w, h); ctx.restore(); const area = { x, y, w, h, btn: "", scene: `ind_${i.n}`, tooltip: "" } areas.push(area); } return {viz: canvas.toDataURL('image/png'), areas} }35:T945,vanillaCanvasPack = async (data, h1, h2) => { const filtered = data; const groups = d3.rollup(filtered, v => v.length, d => d[h1], d => d[h2]) const childrenAccessorFn = ([ key, value ]) => value.size && Array.from(value) const root = d3.hierarchy(groups, childrenAccessorFn) .sum(([,value]) => value) .sort((a, b) => b.value - a.value) const scheme = [...d3.schemeGreys[4]].reverse(); // scheme[0] = "#313131"; const desc = root.descendants(); const color = (v) => scheme[v]; d3.pack(root) .size([width, height]) .padding(20) (root) const imgs = []; for (let f of filtered) { for (let d of root.leaves()) { if (f[h1] === d.parent.data[0] && f[h2] === d.data[0]) { const img = new Image(); img.setAttribute('crossorigin', 'anonymous'); img.src = f.url; await new Promise(r => { img.onload = () => { r(true) }}); imgs.push({ url: f.url, x: d.x, y: d.y, r: 25, img: img, n: f.n }); } } } const simulation = d3.forceSimulation(imgs) .force("collide", d3.forceCollide(20)) .tick(200) const canvas = document.createElement("canvas"); const ctx = canvas.getContext("2d"); canvas.width = width; canvas.height = height; ctx.fillStyle = "#313131";; ctx.fillRect(0, 0, width, height); ctx.font = "12px serif"; ctx.textBaseline = "middle"; ctx.textAlign = "center"; for (let d of desc) { ctx.save(); ctx.translate(d.x, d.y); ctx.strokeStyle = "black"; ctx.fillStyle = color(d.depth); ctx.beginPath(); ctx.ellipse(0, 0, d.r, d.r, 0, 0, Math.PI * 2); ctx.fill(); ctx.stroke(); ctx.fillStyle = "black"; ctx.fillText(d.depth === 1 || d.depth === 2 ? d.data[0] : "", 0, -d.r - 5); ctx.restore(); } const areas = []; for (let i of imgs) { const w = parseInt(50); const h = parseInt(w * i.img.height / i.img.width); const j = (Math.random() - 0.5) * 100; const x = i.x // + j; const y = i.y // + j; ctx.save(); ctx.translate(-w/2, -h/2); ctx.drawImage(i.img, x, y, w, h); ctx.restore(); const area = { x, y, w, h, btn: "", scene: `ind_${i.n}`, // ¿Cómo definir esto? tooltip: "" } areas.push(area); } return {viz: canvas.toDataURL('image/png'), areas} // return canvas }36:T51f,vanillaCanvasCompare = async (data, h1, h2) => { const filtered = [data.find(d => d.n == h1), data.find(d => d.n == h2)]; const imgs = []; for (let f of filtered) { const img = new Image(); img.setAttribute('crossorigin', 'anonymous'); img.src = f.url; await new Promise(r => { img.onload = () => { r(true) }}); imgs.push({ url: f.url, img: img, n: f.n }); } const canvas = document.createElement("canvas"); const ctx = canvas.getContext("2d"); canvas.width = width; canvas.height = height; ctx.fillStyle = "#313131"; ctx.fillRect(0, 0, width, height); ctx.font = "12px serif"; ctx.textBaseline = "middle"; ctx.textAlign = "center"; const areas = []; let count = 0; for (let i of imgs) { const m = parseInt(width / 2) * 0.1 const w = parseInt(width / 2) - m; const h = parseInt(w * i.img.height / i.img.width); const x = (count * (w + m)) + (w/2) + (m/2); const y = height/2; ctx.save(); ctx.translate(-w/2, -h/2); ctx.drawImage(i.img, x, y, w, h); ctx.restore(); const area = { x, y, w, h, btn: "", scene: `ind_${i.n}`, // ¿Cómo definir esto? 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","pinned":false,"hidden":false,"mode":"html","author":"$undefined","summary":"$undefined","output":"panelContainer","database":"$undefined"},{"id":922,"value":"panelFromScenes = async (data, scenes, start) => {\n await setScenes(data, scenes);\n showPanel(scenes, start);\n return scenes\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":"$undefined"},{"id":290,"value":"showPanel = (scenes, start) => {\n let prevScene = start;\n const a = new aventuraModule.Aventura('en', {\n adventureContainer: \"panel-container\",\n typewriterSpeed: 0,\n // defaultCSS: false,\n // adventureScroll: true\n sceneCallback: (scene) => {\n if (prevScene !== scene.key) {\n scene.options[0].scene = prevScene;\n prevScene = scene.key\n }\n }\n })\n a.setScenes(scenes).testScenes().startAdventure(start)\n return scenes\n}","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","output":"$undefined","database":"$undefined"},{"id":927,"value":"processedScenes = panelFromScenes(data, scenes, 'start')\n","pinned":true,"hidden":false,"mode":"ojs","author":"$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@1.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"