New Technologies and Renaissance Studies I by William R. Bowen, Raymond G. Siemens

By William R. Bowen, Raymond G. Siemens

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The user can zoom in and out of the image. Figure 4 shows the whole of the image, while Figure 5 shows the image after zooming into it. Since the sophistication of the result depends only on the quality of the two-dimensional images used, such projects are easy to update simply by changing or adding to the photographs. What is more, it is easy to boilerplate by setting up one plan/elevation, testing it, and then multiplying it with di erent sets of images. 48 Digital Still Images Figure 4 Figure 5 49 MICHAEL GREENHALGH Figure 6 50 Digital Still Images Figure 7 MICHAEL GREENHALGH 51 In Figures 6 and 7, no clicking is needed, but the top image still acts as the control—the “map”—to what appears on the bottom.

P. 1998. The two cultures, intro. by Stefan Collini. Cambridge: Cambridge University Press. Originally printed in 1959. von Neumann, John. 1945. First draft of a report on the EDVAC. pdf (22 September 2008). Watson, James D. 2001. The double helix: A personal account of the discovery of the structure of DNA. New York: Simon and Schuster. Originally printed in 1968. Wigner, Eugene P. 1960. The unreasonable e ectiveness of mathematics in the natural sciences. Communications on Pure and Applied Mathematics 13: 1–14.

But in spite of an increasing number of bright spots, initiatives in the image eld have always been more patchy than those involving texts: I can easily nd the works of Shakespeare online, in all kinds of editions; but where do I go for the complete paintings (let alone drawings) of Raphael? The answer is simple: collaborative e orts do indeed exist (as one might expect of people using networked, near-instant technologies with facilities for text, sound, still images and video)—but they are rarer than they should be.

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