Immersion techniques. The Lisbon earthquake from a paper theatre (Augsburg, 1756) to the Quake Museum (Lisbon, 2022) passing through the Cyclorama (London, 1848)

Bibliographic Data

ID21786544
AuthorsIlaria Ampollini (0000-0002-8803-8622, University of Milan, corresponding author)
Year2025
Volume23
Issue3
Pages209-232
Publication date2025-07-03
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueEarly Popular Visual Culture (JOURNAL)
Journal identifiersISSN: 1746-0654 • E-ISSN: 1746-0662
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/17460654.2025.2523755
OpenAlexW4412517548
LanguageEN
References cited53

In 1756, a perspective paper theatre depicted the Lisbon earthquake, showing terrified people and collapsing monuments, churches and houses. Then, in 1848, the London Cyclorama depicted various moments of the disaster, including the tidal wave that submerged the city. Finally, in 2022, the Quake Museum opened in Lisbon. Here, visitors can learn about the science of earthquakes, walk through 18^(th)-century Lisbon and experience earthquake simulators. All of these representations attempt to give people the impression of ‘being there’, immersing them in the catastrophe as if they had experienced it first-hand. In this paper, I will discuss: 1. The extent to which immersivity has been a key feature in the narration of the Lisbon earthquake over time. 2. The different techniques employed to immerse the spectator in the catastrophe, from 18^(th)-century literary technology to the mixed reality of the Quake Museum. 3. The relationship between these techniques and the circulation and visualisation of scientific knowledge, particularly in relation to the emergence of geological sciences and the development of debates around risk, natural disasters and prevention

Art · Art history · Humanities · Seismology · Visual arts · Archaeological Research and Protection · History · History of Science and Natural History · Geology

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