Souvenirs of Venice: Reproduced views, tourism, and city spaces
Bibliographic record
Abstract
This dissertation is the first study of the three-hundred year history of souvenir images of Venice produced by local Venetians for tourists from the eighteenth century to the twenty-first century.The project traces both the changes and the elements of continuity in the Venetian spaces depicted and in the visual conventions used.The Introduction explains why Venice is a particularly significant subject for a study of souvenir imagery and outlines the theoretical ideas related to travel and souvenirs that inform the work that follows.Chapter One focuses on the view paintings of Venice by Giovanni Canaletto and Francesco Guardi, as well as Antonio Visentini's engravings of Canaletto's paintings, within the context of both the Grand Tour and Venice's dwindling power leading up to the fall of the Republic in 1797.Chapter Two explores nineteenth-century photographs of Venice made by local photographers Carlo Ponti, Carlo Naya, and Tomaso Filippi, with the photographs organized into central and peripheral spaces in the city, and with attention devoted to archival material in the little-known Archivio Filippi.Chapter Three considers the photographs in their serial form, as images included in commercial souvenir albums.Chapter Four analyzes twentieth-century postcards of Venice, which used the nineteenth-century photographs for their images.The Conclusion includes a study of a company in Venice that is continuing the tradition of producing postcard views of the city for visitors.The chapters also call attention to how the figures of locals and foreigners are presented in the images; to the tourist circuits through Venice implied in collections of images bound together, which are read here as visual guidebooks; and to spaces that brought tourists together to engage with the city's souvenir images, specifically Joseph Smith's viewing gallery on the Grand Canal in the eighteenth century, photographers' shops in San Marco in the nineteenth century, and the post office at the Fondaco dei Tedeschi in the early twentieth century.Souvenirs of Venice
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.006 | 0.004 |
| Scholarly communication | 0.008 | 0.003 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.032 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".